Dissertations / Theses on the topic 'The first Turkish opera'

This thesis aimed to report on the qualitative research conducted which identified the role played by international television soap operas in identity formation and cultural change in relation to Kurdish women. Currently, Kurdish women live in a cultural context where traditional values often conflict with modern values when it comes to behaviour deemed appropriate for their gender. Through the impact of international television soap operas, Kurdish women come to identify themselves as being 'traditional' while at the same time they attempt to integrate non-traditional beliefs into their value system. This study looked at the relationship between Kurdish women's exposure to international television, soap operas and consumerism, as well as the problems which they create in terms of non-Western women's identity formation. This thesis has documented the lives and experiences of 21 female Kurdish participants, aged between 18 and 40, through in-depth interviews and observations. The thesis assumes that the views recorded are representative of the general viewpoint of viewers of the international soaps. Open-ended, in-depth interviews about women were used to explore viewing habits and preferences for various soaps. This thesis incorporates and expresses the ideas which were recorded with regards to the accepted 'typical' characteristics of men and 4 women - it is these characteristics which play an important role in selfformation. It became evident that these women had incorporated values from the traditional Kurdish culture and the modern way of life. The Kurdish women cannot be said to have a 'modernist' outlook on gender-appropriate behaviour, as they are still endemically entrenched in traditional Kurdistan worldviews. The qualitative research analysed the level in which the soap operas act as a kind of medium between the values of modernity and those of tradition. This study, in addition, demonstrates the appeal that soap operas can have on the norms, and other aspects, in the Kurdistan Region, and therefore illustrates that the soaps have an active role as a mechanism of change in Kurdistan. Thus, the research demonstrates the power of the soap operas and their effects on the Kurdish people in this region. Furthermore, this research explored the current media environment in the Kurdistan Region by reviewing the dependency of Kurdish viewers, and the Kurdish television channels, on foreign and imported television programmes into the region.

The First Permanent Ottoman-Turkish Embassy in Europe: The Embassy of Yusuf Agah Efendi to London (1793-1797) One of the reforms of the Nizam-i Cedid (New order) concerned diplomatic practice and this thesis examines the establishment of the first permanent Ottoman embassy to London and the work of the first permanent ambassador Yusuf Agah Efendi from 1793 to 1797. The work discusses the style of the reports submitted by Ottoman ambassadors before the establishment of the permanent embassy to London. The preparations for the embassy and the discussions between the Reis Efendi and the British ambassador about its establishment are also studied. In addition, the journey to London, the early days of the embassy in London and the conduct of the embassy are analysed. The diplomatic activities of Yusuf Agah indicate that he was responsible for protecting his country's interests against Russian propaganda. Another concern was the intermittent clashes between the French and British warships inside Ottoman territorial waters; namely the Mikonos and Nemesis affairs. His reports on the Anglo-Russian treaty, and on Denmark and Sweden are analysed. Yusuf Agah's remarks on Francis Jackson's appointment as ambassador to Istanbul and on the Tunisian envoy are also studied. As ambassador he was principal defender of Ottoman subjects' commercial interests and was also responsible for protecting their rights according to international law and treaty agreements between the Ottoman empire and Britain. He was also charged by the Sultan to recruit military experts from Britain for service in the Ottoman empire. He also introduced to the British people Ottoman- Turkish customs. His public inauguration in 1795 was one of the greatest ceremonial events in Britain in the last decade of the eighteenth century. The press paid an enormous amount of attention to him and everything concerned with his embassy. The thesis also analyses the end of his mission and his return to Istanbul. The thesis examines in detail the reports of Yusuf Agah (Havadisname-i ingiltere and the account of his secretary, Mahmud Raif, in which each describes his, views and impressions of Britain and British institutions it, particular the military, financial, political organisations. Both Turkish and British sources agree that the Ottoman state adhered to European diplomatic regulations and understood the importance of reciprocal diplomacy between states in the late eighteenth century.

This study investigated the use of lexical bundles in research articles written in English by Turkish scholars. For the purpose of the study, a corpus of published research articles produced by Turkish scholars in six different academic disciplines was collected. The four-word lexical bundles that appeared at least twenty times in this one million word corpus were identified and further analyzed both structurally and functionally based on the previous taxonomies developed by Biber, Johansson, Leech, Conrad and Finegan (1999) and Biber, Conrad and Cortes (2004). The results of this study revealed that the lexical bundles found have structural correlates as well as strong functional features that help to construct discourse in academic writing. The conclusions drawn from this study could be applied to the teaching of academic genres to researchers in English as a Foreign Language context and are expected to provide insights for further corpus-based studies in academic writing.

This project explores research-based methods for creating an e-learning resource to teach an intellectual skill. Intellectual skills are one of the five domains of learning defined by Robert M. Gagné. The intellectual skill taught via the e-learning resource is the rules of Turkish vowel harmony, a fundamental phonological feature of the Turkish language. The purpose of the e-learning resource is to provide novice learners with a set of tools and strategies with which to approach the future study of Turkish. A literature review was conducted in three areas: Gagné’s instructional design theories, Turkish language learning, and best practices for the design of multimedia e-learning. Two rapid prototypes in the form of Moodle course sites were developed. Guidance for improving the prototypes was sought from experts in instructional design, usability, and computer software. The resulting finished e-learning product is a nine-topic Moodle course based on Gagné’s nine events of instruction. The main Moodle course content teaches the rules of Turkish vowel harmony as an intellectual skill which has been broken down into discriminations (the Turkish vowels), concepts (the Turkish vowel groups) and rules (Turkish vowel harmony). Higher order rules are taught in the form of exceptions to the rules of Turkish vowel harmony found in foreign loan-words in Turkish. Practice is provided in applying the rules of Turkish vowel harmony as a set of word attack skills for approaching Turkish language artifacts found online and in the environment. A comprehensive list of resources relating to learning Turkish, learning about the Turkish language, and learning about learning Turkish, is provided to facilitate future extension and application of what was learned in this course. Each lesson is presented in the form of a Moodle book. Each lesson is followed by an ungraded assessment in the form of an Adobe® PDF quiz. The quizzes and accompanying answer keys are designed to provide guided practice, feedback, and self-assessment to help students extend and apply the lesson material. All lessons were beta-tested to ensure usability and reduction of extraneous cognitive load. The project resulted in the development of a Best Practices Checklist for designing e-learning resources to teach intellectual skills. The Best Practices Checklist, which can be found in Appendix B, was used to develop the outline for e-learning resources to teach intellectual skills in other subject areas and was found to be an effective rapid prototyping and instructional design tool. Insight was gained into the significance of prior knowledge for teaching intellectual skills, and on how to calibrate cognitive load in e-learning design relative to the learner’s prior knowledge of the subject matter being taught.

The purpose of this study was to provide an analysis of the major arias and ensembles of Jody Nagel's Fifty-Third Street for performance practice, drawing upon a case study of the premiere. The opera Fifty-Third Street was composed in 1992 by Nagel for his dissertation project at the University of Texas at Austin. The librettist is Seth Wolitz, then a University of Texas faculty member. The opera examines the lives of two homeless men on 53rd Street in New York City, between 5th and 6th Streets, and the reactions toward them from various facets of society, including the church, art institutions, businesses and tourists. The opera was premiered at Sursa Performance Hall on the campus of Ball State University on April 12, 2007 with a subsequent performance on April 15, 2007.Both the piano/vocal score and the chamber orchestra score from the premiere have been examined in the analysis of the opera, in addition to the original treatise by Jody Nagel. The analysis is conducted from a performer's perspective and examines vocal aspects, including potential technical challenges, range and tessitura; musical aspects, including formal analysis, tonality, melody, harmony and rhythm in relation to the text; drama and staging, and character motivation for each of the major arias and ensembles. Suggestions are offered for practice and performance based upon the analysis and informal interviews with the composer, conductor, directors, cast and crew of the premiere performance. Appendices include scene charts, costume lists, lighting and projection cues, original set and publicity materials, and a DVD recording of the world premiere performance.Many composers throughout the centuries have used opera as a way to comment on the world in which they lived and to challenge the status quo: Mozart, Le nozze di Figaro; Verdi, Un ballo in maschera; Berg, Wozzek; Britten, Peter Grimes. Jody Nagel has continued this tradition in a way that is powerful and compelling. Future directors will discover that Fifty-Third Street offers an invaluable tool for the musical development of students and professionals, for the growth of the American opera repertory, and for challenging the American way of life.<br>School of Music

Abstract The rise of competing nationalisms in Cyprus first drew world attention in the 1950's, yet the origins of nationalism in Cyprus can clearly be traced to the closing stages of Ottoman rule on the island during the nineteenth century. While the earlier development of nationalism in the Greek Orthodox community of Cyprus is commonly acknowledged, the pre-World War II evolution of nationalism amongst Cyprus' Moslem Turks is consistently overlooked or misrepresented. Contrary to the conventional wisdom, this work contends that Turkish nationalism in Cyprus did not first emerge in the 1950's, but instead grew gradually from the late nineteenth century onwards; that nationalism amongst the island's Turks was first discernible in a 'civic' form founded on Ottomanism which was gradually, though progressively replaced by Turkish ethno-nationalism; and that while both British colonial policies and especially the threat perceived from the rise of Greek nationalism on the island may have helped spur nationalism amongst the Turks, the continued cultural and political interaction with Ottoman, and even non-Ottoman Turks, and later with the Turkish Republic was at least as influential in fostering nationalist sentiments and prompting their expression in political actions. While particular note is made of the often neglected impact of the Young Turk movement in the early twentieth century, this study acknowledges and seeks to elucidate a complex assortment of variegated stimuli that ranged from international developments, such as the recurring crises in the Balkans and President Wilson's speech on the 'Fourteen Points', to the personal attitudes and attributes of British administrators and domestic inter-ethnic relations, and local and international economic trends and developments. Together, it is maintained, these influences had made Turkish nationalism a perceptible phenomenon amongst the Turks of Cyprus by the time of the October Revolt of 1931.

The main purpose of the present study was to compare marital satisfaction among marital status (first married, post-divorce remarried and post-bereavement remarried) and gender. In addition, the current study aimed to investigate the effect of stepchildren on marital satisfaction of remarried individuals. Besides, it was also aimed to investigate the predictive power of demographic and contextual variables on marital satisfaction of first married families, of post-divorce remarried families, of post bereavement remarried families, and of those who had stepchildren. Dyadic Adjustment Scale (DAS) and Demographic Information Form were administered 116 first married and 223 remarried individuals. To test the hypotheses of the study ANOVA, ANCOVA, and Stepwise Multiple Regression Analyses were performed. Results revealed that men had higher level of marital satisfaction than women. However, there was no significant difference between the marital satisfaction of first married individuals, post-divorce remarried individuals, and post-bereavement remarried individuals. It was also found that remarried individuals with residential stepchildren had lower marital satisfaction than remarried individuals with non-residential stepchildren and those without stepchildren. In addition, results yielded that for first married individuals length of marriage and income<br>for post-divorce remarried individuals gender and presence of mutual children<br>for post-bereavement remarried individuals length of current marriage and income<br>and for those with stepchildren only residence of stepchildren significantly predicted marital satisfaction. The findings of the study were discussed in the light of relevant literature

The aim of this dissertation is to discuss the image of the city of Diyarbakır as emerging from Kurdish and Turkish literature throughout the twentieth century. Diyarbakır city represents a highly contentious place in socio-political and cultural terms for the Kurdish vis-à-vis the Turkish imagined community. The first chapter is dedicated to the image of the city previous to the foundation of the Turkish Republic in 1923 as emerging from accounts of travellers from different ages and different languages. Then, in four different chapters, four different corpuses of Turkish and Kurdish literature are taken under the focus of the analysis. Each corpus allows the discussion of certain aspects and themes related to the city. Overall, each chapter and each corpus constitute a piece of the deconstructed literary image of the city, which is at the centre of this research. Since Diyarbakır is a contested city, its representations are deeply involved in processes of appropriation and symbolization of place. Therefore, in the shaping of literary Diyarbakır throughout the twentieth century, the conflicting political dynamics between the Turkish State and local Kurdish actors play a crucial role.

The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese-American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to or influenced by film. Analytical techniques and historical perspectives, as well as revealing how these three operas are associated with the film world through their composers, source materials, and styles are the tools utilized to establish the characteristics of cinemopera as an operatic subcategory. Also, a definition and discussion of intertextuality in these operas reveals not only their cinematic features, but their ties to common practices in music history. Lost Highway is one of the most intertextual works containing sound effects, electronic music, and drawing heavily upon the David Lynch film of the same name as its source material. The First Emperor is an interesting study in modern ethnomusicology and contains many links to film in its source material as well. The Little Prince has a different kind of intertextuality than the preceding two operas because its source material is a French children’s book. However, since its composer, Rachel Portman, is a very distinguished film composer, it represents many elements of style commonly found in cinemopera. Finally, opera as a business is changing due to its convergence with film. The visual aspect of opera productions is of increasing importance, as is a singer’s credibility in the role they are portraying. Singers must look their parts much more so now than even two decades ago. As cinemopera is explored herein and its effects on the business are discussed, so are the elements of style which clearly serve to classify an opera as cinemopera.

Within the context of debates concerning the reception and interpretation of media texts by television audiences, this qualitative reception study explores how a sample of Bulawayo students negotiate meanings from Zimbabwe's first health communication soap opera, Studio 263. The study thus examines the reasons behind the popularity of this programme with this target audience. The findings of the study reveal that meaning making is a complex process that is dependent on a variety of factors which include, among others, the socio-cultural context of media consumption, gender, economic disposition and age. It particularly maintains that gender and lived realities influence the interpretation and negotiation of meanings in this particular study.<br>Adobe Acrobat Pro 11.0.0 Paper Capture Plug-in

Recent decades have brought an extensive amount of research that informs our understanding of the complex relationship between the languages in a multilingual mind and how this is shaped by biological, cognitive and external factors. The current study is an attempt to contribute to this understanding by providing a comprehensive picture of the structural and lexical development of Turkish as an immigrant and heritage language in the UK and its predictors. It specifically aims to gain insights into the roles of age at onset of bilingualism (AaO) and quantity/quality of L1 contact in this development by bringing together the body of research that was traditionally carried out separately either with early bilinguals/heritage speakers or late bilinguals (attriters). The spoken performance of a total of 92 Turkish - English bilinguals with a wide AaO range (0–42) divided into three age ranges and of 44 monolinguals was investigated. This approach allowed us to control for the quality of input available to the speakers within this community and test the impact of AaO to see whether these factors remain equally predictive of L1 knowledge across a wide range of linguistic abilities including past tense, overall structural complexity, foreign accentedness, and word formation. The synthesis of the findings obtained from three empirical studies written as chapters of this thesis suggested that this was not the case. The productivity in word formation, for example, was largely independent of AaO effect and past L1 experience, while both factors were at play in the remaining properties showing a dynamic, nonlinear interaction between the two. While in older bilinguals the transfer from the L2 to L1 was mostly subtle (due to late AaOs), for younger bilinguals, L1 development was variable and affected by a range of additional factors. Findings are discussed within the premises of various theoretical approaches.

The main focus of this study was to investigate the relationship between the dependent variables of affective, continuance, and normative commitment and job satisfaction, job characteristics, role characteristics, and selected demographic variables. This study also aimed to make a comparison between police officers and first and mid-level supervisors of the Turkish National Police in order to test whether there was a difference between their commitment levels. The final purpose was to examine the moderating role of growth need strength (GNS) and the mediating role of overall job satisfaction between the five job characteristics and three components of organizational commitment. A total of 1,429 police officers and police supervisors were obtained and selected from various departments. An electronic survey was used to gather data from the target population. Eighteen hypotheses were developed and tested through various statistical analyses. The results revealed that role conflict and role ambiguity were inversely related to affective commitment. A positive significant relationship existed between affective commitment and tenure, task significance, autonomy, and intrinsic and extrinsic job satisfaction. The relationship between continuance commitment and education, autonomy, and role conflict were significant. Number of children, task significance, role ambiguity, intrinsic and extrinsic job satisfaction all made significant contributions to the variance in normative commitment. There was a significant difference in the level of affective, continuance, and normative commitment between police officers and mid-level supervisors and between first level supervisors and police officers. Overall job satisfaction was found to be a mediator between all five job characteristics and affective and normative commitment. Finally, GNS was a moderator between task identity and affective commitment, skill variety and continuance commitment, and job characteristics of autonomy and job feedback and normative commitment. On the whole, findings of this study revealed important theoretical, policy, and practical implications. Through an examination of the various aspects of organizational commitment and an in-depth investigation of the relationships between specific variables to components of organizational commitment, this study help researchers understand all aspects of organizational commitment from the perspective of police officers and police supervisors.

This thesis proposes specific signal processing and machine learning methodologies for automatically aligning the lyrics of a song to its corresponding audio recording. The research carried out falls in the broader field of music information retrieval (MIR) and in this respect, we aim at improving some existing state-of-the-art methodologies, by introducing domain-specific knowledge. The goal of this work is to devise models capable of tracking in the music audio signal the sequential aspect of one particular element of lyrics - the phonemes. Music can be understood as comprising different facets, one of which is lyrics. The models we build take into account the complementary context that exists around lyrics, which is any musical facet complementary to lyrics. The facets used in this thesis include the structure of the music composition, structure of a melodic phrase, the structure of a metrical cycle. From this perspective, we analyse not only the low-level acoustic characteristics, representing the timbre of the phonemes, but also higher-level characteristics, in which the complementary context manifests. We propose specific probabilistic models to represent how the transitions between consecutive sung phonemes are conditioned by different facets of complementary context. The complementary context, which we address, unfolds in time according to principles that are particular of a music tradition. To capture these, we created corpora and datasets for two music traditions, which have a rich set of such principles: Ottoman Turkish makam and Beijing opera. The datasets and the corpora comprise different data types: audio recordings, music scores, and metadata. From this perspective, the proposed models can take advantage both of the data and the music-domain knowledge of particular musical styles to improve existing baseline approaches. As a baseline, we choose a phonetic recognizer based on hidden Markov models (HMM): a widely-used methodology for tracking phonemes both in singing and speech processing problems. We present refinements in the typical steps of existing phonetic recognizer approaches, tailored towards the characteristics of the studied music traditions. On top of the refined baseline, we device probabilistic models, based on dynamic Bayesian networks (DBN) that represent the relation of phoneme transitions to its complementary context. Two separate models are built for two granularities of complementary context: the structure of a melodic phrase (higher-level) and the structure of the metrical cycle (finer-level). In one model we exploit the fact the syllable durations depend on their position within a melodic phrase. Information about the melodic phrases is obtained from the score, as well as from music-specific knowledge.Then in another model, we analyse how vocal note onsets, estimated from audio recordings, influence the transitions between consecutive vowels and consonants. We also propose how to detect the time positions of vocal note onsets in melodic phrases by tracking simultaneously the positions in a metrical cycle (i.e. metrical accents). In order to evaluate the potential of the proposed models, we use the lyrics-to-audio alignment as a concrete task. Each model improves the alignment accuracy, compared to the baseline, which is based solely on the acoustics of the phonetic timbre. This validates our hypothesis that knowledge of complementary context is an important stepping stone for computationally tracking lyrics, especially in the challenging case of singing with instrumental accompaniment. The outcomes of this study are not only theoretic methodologies and data, but also specific software tools that have been integrated into Dunya - a suite of tools, built in the context of CompMusic, a project for advancing the computational analysis of the world's music. With this application, we have also shown that the developed methodologies are useful not only for tracking lyrics, but also for other use cases, such as enriched music listening and appreciation, or for educational purposes.<br>La tesi aquí presentada proposa metodologies d’aprenentatge automàtic i processament de senyal per alinear automàticament el text d’una cançó amb el seu corresponent enregistrament d’àudio. La recerca duta a terme s’engloba en l’ampli camp de l’extracció d’informació musical (Music Information Retrieval o MIR). Dins aquest context la tesi pretén millorar algunes de les metodologies d’última generació del camp introduint coneixement específic de l’àmbit. L’objectiu d’aquest treball és dissenyar models que siguin capaços de detectar en la senyal d’àudio l’aspecte seqüencial d’un element particular dels textos musicals; els fonemes. Podem entendre la música com la composició de diversos elements entre els quals podem trobar el text. Els models que construïm tenen en compte el context complementari del text. El context són tots aquells aspectes musicals que complementen el text, dels quals hem utilitzat en aquest tesi: la estructura de la composició musical, la estructura de les frases melòdiques i els accents rítmics. Des d’aquesta prespectiva analitzem no només les característiques acústiques de baix nivell, que representen el timbre musical dels fonemes, sinó també les característiques d’alt nivell en les quals es fa patent el context complementari. En aquest treball proposem models probabilístics específics que representen com les transicions entre fonemes consecutius de veu cantanda es veuen afectats per diversos aspectes del context complementari. El context complementari que tractem aquí es desenvolupa en el temps en funció de les característiques particulars de cada tradició musical. Per tal de modelar aquestes característiques hem creat corpus i conjunts de dades de dues tradicions musicals que presenten una gran riquesa en aquest aspectes; la música de l’opera de Beijing i la música makam turc-otomana. Les dades són de diversos tipus; enregistraments d’àudio, partitures musicals i metadades. Des d’aquesta prespectiva els models proposats poden aprofitar-se tant de les dades en si mateixes com del coneixement específic de la tradició musical per a millorar els resultats de referència actuals. Com a resultat de referència prenem un reconeixedor de fonemes basat en models ocults de Markov (Hidden Markov Models o HMM), una metodologia abastament emprada per a detectar fonemes tant en la veu cantada com en la parlada. Presentem millores en els processos comuns dels reconeixedors de fonemes actuals, ajustant-los a les característiques de les tradicions musicals estudiades. A més de millorar els resultats de referència també dissenyem models probabilistics basats en xarxes dinàmiques de Bayes (Dynamic Bayesian Networks o DBN) que respresenten la relació entre la transició dels fonemes i el context complementari. Hem creat dos models diferents per dos aspectes del context complementari; la estructura de la frase melòdica (alt nivell) i la estructura mètrica (nivell subtil). En un dels models explotem el fet que la duració de les síl·labes depén de la seva posició en la frase melòdica. Obtenim aquesta informació sobre les frases musical de la partitura i del coneixement específic de la tradició musical. En l’altre model analitzem com els atacs de les notes vocals, estimats directament dels enregistraments d’àudio, influencien les transicions entre vocals i consonants consecutives. A més també proposem com detectar les posicions temporals dels atacs de les notes en les frases melòdiques a base de localitzar simultàniament els accents en un cicle mètric musical. Per tal d’evaluar el potencial dels mètodes proposats utlitzem la tasca específica d’alineament de text amb àudio. Cada model proposat millora la precisió de l’alineament en comparació als resultats de referència, que es basen exclusivament en les característiques acústiques tímbriques dels fonemes. D’aquesta manera validem la nostra hipòtesi de que el coneixement del context complementari ajuda a la detecció automàtica de text musical, especialment en el cas de veu cantada amb acompanyament instrumental. Els resultats d’aquest treball no consisteixen només en metodologies teòriques i dades, sinó també en eines programàtiques específiques que han sigut integrades a Dunya, un paquet d’eines creat en el context del projecte de recerca CompMusic, l’objectiu del qual és promoure l’anàlisi computacional de les músiques del món. Gràcies a aquestes eines demostrem també que les metodologies desenvolupades es poden fer servir per a altres aplicacions en el context de la educació musical o la escolta musical enriquida.

abstract: The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.<br>Dissertation/Thesis<br>Opera Na Uranku: Part I directed by Jana Minov<br>D.M.A. Music 2011

This thesis documents the growth of Opera Breve, a new performing arts organization in Vancouver, over the course of the 1997-98 season. The time frame begins with the company's conception in a basement cafeteria, and ends with a meeting a week following the season's final curtain. This chronicle of a new performing arts company, a self-initiated project by artists and arts managers to provide themselves artistic and managerial opportunities, is an example of how individuals with a shared ideal try to organize themselves into a productive entity. The thesis critically examines the main elements of the producing organization: artistic direction, management, marketing, etc. It examines how the current artistic, social and economic atmosphere affords and prevents cultural development. Finally, the thesis draws conclusions and makes recommendations for Opera Breve and, by extension, other new arts organizations.

This dissertation addresses early British intelligence activities and Anglo-Ottoman relations by viewing the activities of army officers and private individuals as a collective pursuit to safeguard British imperial interests. It offers a new understanding of the relationships between intelligence, grand strategy, and diplomacy before the Great War. It also examines the role that pre-1914 intelligence played in that conflict. The Boer War had shown that the geographic expanse of the British Empire was a source of strategic danger as well as a foundation of global power. The revelation of weakness propelled Britain to begin collecting intelligence on possible sources of conflict in preparation for the next war. A 1906 border incident between Egypt and Turkey marked turning points in Anglo-Ottoman relations and British intelligence efforts. Intelligence began to focus on railways that threatened Britain’s commercial position, on the disposition of Arab tribes who might revolt against Turkish authority, on the state of the Turkish army, and on the extent of European activity in Turkey. In 1914, British policy in the Middle East was unco-ordinated. Needing an effective means of combatting the Turco-German Jihad proclaimed in 1915, London created the Arab Bureau as an advisory organ based in Cairo. It became the central repository for much of the intelligence gathered before 1914. Officials in Cairo and London created new maps, compiled route reports, and assembled intelligence handbooks for distribution. Once the Arab Revolt began in 1916, intelligence helped marshal Britain’s resources effectively in pursuit of victory. Placing pre-1914 intelligence in the context of British imperial concerns extends our understanding of Anglo-Ottoman relations by considering strategic and diplomatic issues within a single frame. It demonstrates the influence of the Boer War in initiating intelligence-gathering missions in the Ottoman Empire, showing that even those undertaken before the establishment of a professional intelligence service in 1909, although lacking organization, were surprisingly modern, and ultimately successful. Analysis of under-utilized sources, such as the handbooks created by the Arab Bureau and the Royal Geographical Society, demonstrates the value of pre-war intelligence in detailed ways. It deepens understanding of the role British intelligence played in the defeat of the Ottoman Empire and shows how one nation’s intelligence, military, and diplomatic bodies operated separately and collectively in an era that presented them with unprecedented challenges and opportunities.

碩士<br>中國文化大學<br>戲劇學系<br>107<br>The purposes of this report of performance and creation concepts regarding ‘’Performance Combination of Traditional Chinese Opera and Modern Theater: Taking the First Zhaoan Hakka Opera presented in Taiwan, Wu-Fang Liao in Xiluo, As an Example’’ is to make a note of the character change and the rehearsal participation of opera’s main character, Wu-Fang Liao, and to hold a discussion. Wu-Fang Liao in Xiluo, composed by Taiwanese Opera Troupe, is the first opera presented in Zhaoan Hakka dialect. This opera combines styles of both traditional Chinese Opera conventionalization and modern Theater performance, consisting of dance movements, martial arts performance and music with new arrangements in Chinese opera. Whereas, the writer discussed the development and cultivation of modern Theater entertainers by focusing on the rehearsal and performance records of the first opera presented in Zhaoan Hakka dialect, Wu-Fang Liao in Xiluo. The first chapter addresses the cultivation of modern Theater entertainers and mentions the writer’s traditional Chinese opera training, modern Theater training and diverse art and performance learning experience to show the application and combination of different performances. In Chapter 2, we introduce the composition of Wu-Fang Liao in Xiluo, centering on its particularities of drama and language choice on stage. In Chapter 3, the performance interpretation of Wu-Fang Liao in Xiluo is unveiled by showing the character creation process of Chia-Hsing Liao, performing difficulties during the actual rehearsal and performance, performance interpretation as well as the relationship between entertainers and music. To conclude, Chapter 4 explains the benefits of performing this opera, giving a bright future career development for modern opera entertainers.

碩士<br>國立嘉義大學<br>史地學系研究所<br>98<br>The Syong-nú（匈奴）、the Sian-bei（鮮卑）、the Róu-rán（柔然）and the Tú-jyué（突厥）set up the powerful Nomadic Empire which developed in Northern Asia for long seven centuries from Mó-té Chán-yú（冒頓單于）of the Syong-nú took the throne in 209B.C. to the declined of the Róu-rán in 555A.D.. Then the Tú-jyué replaced the Róu-rán to set up the Turkish Nomadic Empire in 552 A.D.. The Tú-jyué became the king of Mongolia, his Nomadic Empire controlled not only Mongolia but also Central Asia, even the north of Caspian Sea was under influence. However, the Turkish Nomadic Empire developed too fast to firm up his Nomadic Empire, therefore the Tú-jyué of Central Asia gained independence in 583A.D., which was called West Tú-jyué（西突厥） and the Tú-jyué of Mongolia was called East Tú-jyué（東突厥）. Which history was divided into three periods：the first Turkish Empire period（552-630A.D.）、controlled by Táng Dynasty（唐朝，630-679 A.D.）、the second Turkish Empire period（682-744 A.D.）. 　　How can the first Turkish Empire period to develop a strong empire and effected the situation？ The authority of Nomadic Empire is related with Ké-hán’s（可汗） power. Therefore analyze the enthronement background of Ké-hán and the power of inheritance with historical records and epigraphs, external power had most influence, and this kind of the interaction influenced situation too. 　　In foreign relations, the Tú-jyué adopted peace modes of marriage、tribute、trade and non-peace modes of armed force. These methods mean the demand for economy of the Nomadic Empire and established a buffer state、alliance or force directly to reach political purposes. Furthermore, the Tú-jyué’s power was enough to keep up balance of power between edge nations, and another power was not enough to replace the Tú-jyué or the Central Plains Nations. But when the Tú-jyué’s power could not keep the situation, the Tú-jyué was replaced and controlled by Táng Dynasty, this indicated that the rose and declined of a Nation was very related with edge forces, until 682A.D. the second Turkish Empire established, and the Northern Asia Nomadic Empire conflicted with the East Asia agricultural Nations again.

Richard Wagner is one of the most important and influential composers for scholars of film music. His concept of the Gesamtkunstwerk or "total art work," which combined music, visuals and storytelling, played an indelible role in the creation of film aesthetics, especially with regard to music and sound design. Yet, Wagner's actual music has its own curious legacy in film history, in terms of how it is used to interact with a story that often bears no relation to those of Wagner's operas. This is particularly interesting with regard to the Der Ring des Nibelungen (aka "the Ring Cycle"). The Ring is his most ambitious and influential, and densest work, and perhaps the one with the greatest lingering legacy in popular culture. For example, "Ride of the Valkyries," an excerpt from Die Walküre made famous by Looney Tunes shorts and Francis Ford Coppola's Apocalypse Now, is still a frequent presence in film, television and advertising that want to evoke sounds of war and conquest--associations created more from its use in those contexts than the original opera. This thesis will examine films and television series of the last half-century that have used musical examples from the Ring in their soundtracks. Works given particular focus will include Apocalypse Now (1979), the Japanese anime series Princess Tutu (2002-2003) and Terrence Malick's historical romance The New World (2006). The examination will discern both how film media has influenced modern cultural perceptions of the original operas--and of Wagner's legacy in general--and also how said film media is itself a reflection of modern attitudes about Wagner and his masterwork.

碩士<br>國立臺北藝術大學<br>戲劇學系碩(博)士班<br>107<br>Since the ban of the Qing government in the late 17th century, females were expelled from the field of performing art. Therefore, Peking Opera, which arose in the mid-19th century, developed a performing system that conformed male physiological conditions due to male-only circumstance. Until the 1870s to 1880s, female theatrical companies began to appear in Shanghai, these theatrical companies that were comprised all by women were called Mao-Er Ban. In the late 19th century, the female theatrical companies entered the market of Shanghai Peking Opera performance and started to perform in professional theaters, so-called Cha Yuan. In the next fifty years, more and more females dedicated themselves to the area of Peking Opera performance. The significant development of their art performance brought a great change to the world of Peking Opera, which used to only belong to males. However, in the current works of theatrical history, actresses are usually some names bundled with the actors. Their importance was not fully reflected in the research and descriptions of Peking Opera history. 　　The subjects of this thesis are the Shanghai Peking Opera actresses in the early 20th century. It constructs the thread of the situation that Peking Opera actresses were facing in these fifty years. The development of Peking Opera actresses had been through playing in Cha Yuan, entertainment centers, modern theaters, and mini-theaters. And the transformation of single-gender theatrical companies to mixed-gender ones. On the other hand, this thesis inquires the reasons of the development tendency of Peking Opera actresses. It shows the dilemma that the actresses were facing in three aspects, which were the performers themselves, the development of Peking Opera, and the general Peking Opera performance environment in Shanghai. By constructing the situation of Peking Opera actress development and inquiring the points mentioned above, in the end, it is found that the major influence that the actresses brought to the development of Peking Opera was the complete transformation of its sexual structure. In terms of the performance, the great amounts of females who participated in acting Dan had improved the status of Dan in Peking Opera. In terms of the employers, the actresses became important performers and disseminators of the performing art of Peking Opera. Their appearance, disposition, and musical quality that are different from male performers had gradually changed the audience’s aesthetic value.

Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production.<br>text

In the process of carving a new England out of the southern end of Vancouver Island in the later nineteenth century, the population of Victoria, BC sought to forge a British identity for themselves through music and its associated rituals. They did this through the pursuit of purposeful acts of cultural meaning. In the social sphere, concerts, parades, religious services, and theatrical productions heightened and inspired loyalty to Mother England. Victoria’s upper classes could then dominate by excluding those people—including Jewish, Chinese, Indigenous, African-American, and Hawaiian residents—who did not conform to that identity. In late-nineteenth-century Victoria, music became more than just a way to celebrate, worship, and recreate; it defined social life for British and non-British peoples alike and shaped the physical space in which they lived. This dissertation explores late nineteenth-century Victoria’s creation of a British identity through music. Ensuring that their churches had a powerful organ and talented organists, Victoria’s religious community proved that they could undertake Britain’s highest social point of sacred musical performance: the choral festival. Positioning George Frideric Handel’s Messiah—with its strong connotations of Britain and her Empire—as their showstopper, these choral festivals served to cement relationships between those citizens who considered themselves British, while also proclaiming this identity as a mark of superiority to the community at large. Itinerant opera troupes further strengthened these imperial bonds by importing European and British opera to Victoria. Through the performances of these professional travelling musicians, Victorian Victorians were able to experience high art and popular operatic music of the Western world, joining the particularly British Pinafore and Mikado crazes of the 1870s and 1880s. These itinerant singers thoroughly impressed local musicians, who avidly tried to reproduce what they had heard, first in instrumental overtures and medleys in the 1860s and 1870s, then with vocal and instrumental operatic numbers in miscellany concerts in the 1870s and 1880s, and finally with full operatic productions in the 1880s and beyond. As with choral festivals in the religious sphere, taking part in opera productions also helped to create a shared sense of British identity among Victoria’s upper classes, during a time when other defining factors of social placement were not yet secure. Settlers in Victoria removed the Indigenous and natural impediments to the construction of their new metropolis, in effect silencing their cultural “voice.” Besides the Indigenous peoples of Vancouver Island, other recent settlers posed challenges to British hegemony, especially Chinese immigrants and “coloured” people of African origin, many of whom came from the United States. Even the gender demographics in the male-dominated frontier society posed challenges to the civilizing process. The Jews of Victoria, the majority of whom were of German or English origin, present an ambiguous case of a cultural and religious community at the crossroads in mid-nineteenth-century Victoria. The butt of rising anti-Semitism in continental Europe, Victoria’s Jewish minority used music and ritual to establish themselves as members of the dominant class.<br>Graduate<br>0413<br>0334<br>0357<br>libby.concord@gmail.com