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In this thesis, Ned Rorem's Poems of Love and the Rain is analyzed, with conclusions being drawn in the sphere of musico-textual relationships within individual songs.

In the world of Musical Theatre and Opera, it is not acceptable to simply have a pretty voice; you must be able to portray the character you are singing and ground it in reality. Drama in music theatre was highlighted in the Early Romantic Movement by bel canto composers Rossini, Bellini and Donizetti who re-designed the opera scene format to better tell the story. Late Romantic composers, Puccini and Verdi, took it a step further by writing music to compliment the drama of the story. Twentieth- Century Opera singer Maria Callas is admired for her famous portrayals of title roles in Rossini, Bellini, Donizetti, Verdi and Puccini operas. Callas combined bel canto vocal technique with her dramatic, realistic acting in her opera roles and revolutionized the art form. Callas stressed the importance of understanding and interpreting text and music with precision, detail, specifics and artistry. Her techniques set the standard for future aspiring singer/actors. In the 1970’s, Callas lost her ability to sing, so she conducted Master Classes at the Julliard School of Music. Her Master Classes were the inspiration for Tony Award-Winning Playwright Terrence McNally’s biographical play, Master Class. The play, Master Class, shows Callas as an overbearing, intimidating diva instructing opera students. The play also contains several vulnerable flashback monologues that break down the layers of Callas’ harshness. McNally’s script shows Callas as a guarded, domineering, and callous woman; however, when she is singing or talking to her lover, she becomes a vulnerable, exposed, and available woman. iv With research and examination of Callas’ life, operatic career, operatic composers, bel canto technique, and music analysis, I wrote an original script to portray the multi-dimensional Callas in a one-woman show featuring famous arias Callas is known for singing

Québec Université Laval, Bibliothèque 2012

Note:

La revue des différents écrits sur le concept de la violence montre qu'il n'existe guère de solution facile pour enrayer ce phénomène. Ce travail a été consacré à la recherche de nouvelles pistes de solution. Pour ce faire, nous nous sommes basés sur l'hypothèse anthropologique de René Girard. Cette hypothèse permet, entre autres, d'aborder différemment les questions comme l'origine et la genèse de la violence dans l'histoire des cultures. Elle permet aussi d'examiner des propositions de solutions nouvelles. Selon Girard, la violence nait du désir de l'être humain et c'est par le biais de la relation à l'autre qu'on en arrive à la rivalité. C'est en remontant toute l'organisation sociale et religieuse que Girard nous fait découvrir comment l'être humain s'y est pris pour limiter, au cours des siècles, les effets de la violence. En nous basant sur les données de cette hypothèse, notamment sur les concepts de mimésis d'apprentissage et d'appropriation énoncés par Girard, il nous a semblé possible d'envisager la mise au point d'un processus psycho-pédagogique plus efficace pour la réinsertion sociale des délinquants. Ce processus implique que l'éducateur et le délinquant soient pleinement conscients du caractère mimétique qui influence et limite leurs relations réciproques. / Québec Université Laval, Bibliothèque 2015