Modern flute pedagogy tends to focus on repertoire which utilizes or builds upon tonal and Romantic stylistic conventions, largely ignoring works that disregard or reject these conventions until later in student's education. This lack of stylistic diversity in commonly studied works from the first half of the twentieth century can be problematic when students are approaching avant-garde or modernist repertoire for the first time, as they are unfamiliar with the style and technical needs of the pieces. This dissertation provides a style guide and progressive curriculum for the avant-garde repertoire of the early- and mid-twentieth century to help students bridge the gap from commonly-studied early-twentieth century repertoire to Post-War Modernist works. The curriculum and style guide are accompanied by an overview of avant-garde musical styles prominent in Europe and American between the 1890s and 1970s, a discussion of the pedagogical challenges of avant-garde repertoire, and two performance guides for avant-garde pieces included in the curriculum, Diaphonic Suite No. 1 by Ruth Crawford and Variations for Solo Flute by Ursula Mamlok.

Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes, and at times, even dismisses accepted societal truths. As a didactic tool, it is in this vein of truth-seeking that theatre has entered the fickle work of social change. First and foremost, what is social change? Who can create change? How is this change measured? How does one measure the effected change on a particular audience? These questions (and more) as well as their subsequent answers are the job of the social change theatre artist and are explored in this study. This thesis is presented in several distinct chapters. Chapters one and two examine the foundations of theatre for social change and its place in the contemporary theatre world. Chapter three explores writing theatre for social change and yields the development of two original theatrical pieces of theater for social change as a direct result of the aforementioned research complete with a stage presentation of those pieces and an audience assessment (before the performance). The concluding chapters explore the results of the audience survey which explains my understanding of theatre for social change's effect on society and the need for society to continually be exposed to theatre which is socially conscious and contributive in order to firmly define America's socially conscious theatrical identity.

This thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against Aronson's theoretical framework, I examine three contemporary US TYA plays from the past two centuries: Black Butterfly, Hush: An Interview with America, and Atypical Boy. Within these scripts, I probe for moments where these five tenets break to manifest possible tendencies toward the avant-garde. I then conclusively reflect and problematize these findings in order to raise questions about each script's relationship to the avant-garde and significance to the development of the field, ultimately provoking further discourse surrounding the role of avant-garde methodology within US TYA's current position and state of progression.

From 1945 onward, post-war artists in Japan encountered two interrelated challenges: to both adjust to the war’s aftermath, and also to create a new visual language which expressed new ideas and emotions. For women artists in Japan, this time of distinct culture change allowed for a re-defining of their role in the art community as well as society. However, there were strict boundaries surrounding the institutional and academic realm of art, one that was not inviting to women, or one that allowed opportunity or growth. Nevertheless, many women artists sought to explore gender roles, the idea of womanhood, sexuality, and expression of the self. These topics were not met willingly by male counterparts or art critics, which forced women artists to constantly engage with a society that did not openly support their work. It was a tumultuous environment; however, women artists of this era truly showcased some of the most influential, explorative, experimental, and exciting avant-garde pieces that deeply affected the history of art. In the artistic community, new conversations and ideas were challenging the rigidity of a traditional Japanese society. Women artists saw this as an opportunity to insert these challenges into their art. There was an ongoing exploration of ideas that critiqued the rigid structure that the establishment enforced upon artists. In the early ‘50s, many women produced artworks that explored ideas such as self-expression, gender norms and responsibilities of womanhood.

This thesis analyzes groundbreaking experimental texts by Asian American writers that employ genre-bending formal innovations to resist the uneasy containment of social hierarchies and aesthetic categories. After a brief discussion of Monica Youn’s 2019 poem, “Study of Two Figures (Pasiphaë/Sado),” I trace such experimentation back to the late twentieth century, focusing on two other texts that explore similar strategies of literary experimentation and that present themselves as novels but, as Youn does with poetry, resist that classification at the same time. The experimental expansions of form in both Theresa Hak Kyung Cha’s Dictee (1982) and Pamela Lu’s Pamela: A Novel (1998) defy categorization and the containments of genre. Further, the formal resistances of both texts repudiate social categorizations on the basis of ethnic, racial, and gender containment. The hybrid forms of Dictee and Pamela: A Novel act as corollaries for resistance to the racial and gender markers constructed by society to contain Asian American identities.

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