Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Leland B. Jacobs. Dissertation Committee: Dwayne E. Huebner. Includes bibliographical references.

In the late 1960s in New York, many actors became disillusioned with the commercial theatre practice of "jobbing in," i.e., of hiring performers for only one production. A number of these actors began experimenting with different types of performing groups or ensembles. These ensembles often reflected the culture of that period--disillusionment with mainstream middle-class values, involvement with drugs, opposition to the Viet Nam war. They attracted experimenters in professional theatre and a mixed group of performers with a wide spectrum of theatre training and experience. Some performers had none at all, and some a great deal. People from varied socioeconomic backgrounds and different races were drawn together, working for a single social, artistic purpose. Because the group members represented such a variety of performing types, the ensemble leader often became the main teacher. The group frequently met other needs, as a family would, by providing for its members a social, political, emotional, and spiritual structure. / One such ensemble was The Ridiculous Theatrical Company (TRTC), whose leader was Charles Ludlam. This ensemble was unique among the companies of that period in that it maintained a continuing group of the same five actors over a thirteen-year span. This study was an examination of the dynamics of that ensemble and the interrelations of the five long-term members under Ludlam's leadership during the period from 1967 to 1981. / Data for this study were drawn from articles written about the Company, extensive interviews conducted between 1979 and 1982 with the five long-term members, and participant observation by the researcher. The study is presented largely in the members' own words, allowing the story to speak for itself. It traces the Company's existence--philosophically, chronologically, and topically--from its inception to the final disillusionment and departure of two of the original members in 1980. / Source: Dissertation Abstracts International, Volume: 47-01, Section: A, page: 0023. / Thesis (Ph.D.)--The Florida State University, 1985.

Karel Husa (1921 - ) is an important twentieth-century composer who has made significant contributions to music in general and to the wind band in particular. His compositions represent a wide range of media including works for keyboard, voice, chorus, chamber ensemble, orchestra and wind band. / Detailed biographic information for this study was obtained by the writer from extensive interviews conducted in June 1982. / The dissertation provides information on the life, education, and works of Karel Husa with attention focused on his contributions to music in general and to the wind band in particular. The study presents biographic information chronoligcally and includes information on all of Husa's compositions. Further, a more detailed discussion of his works for wind band and his contribution to that movement are presented. / Finally, a comprehensive listing of Husa's musical works, a chronological listing, a listing of works by media, a discography, and a comprehensive bibliography are provided. / Source: Dissertation Abstracts International, Volume: 46-04, Section: A, page: 0834. / Thesis (Ph.D.)--The Florida State University, 1985.

Paul de Maleingreau (1887-1956) was a composer, organist, and professor at the Brussels Conservatory from 1913 to 1953. He wrote 113 works, thirty-eight of which are for solo organ. In those thirty-eight works there are 243 organ compositions ranging in length from a two-measure prelude a l'intro(')it to a 657-measure organ symphony. His organ compositions include symphonies, suites, triptyques, diptyques, masses, and preludes. / Quotations of Gregorian chant may be found in nearly all of de Maleingreau's organ works. Most of the quotations appear in the top part of a contrapuntal musical texture. Chants are, however, occasionally found in the bass and infrequently in an inner voice. / Rhythmic irregularity is prevalent in his organ music, sometimes produced through frequent meter changes and at other times through the use of unmetered music. Rhythmic motives are commonly employed. Often the rhythm assigned by the composer to a chant quotation becomes more important developmentally than the actual melodic intervals of the chant. / The harmony employed by de Maleingreau is based primarily on tertian chords. One will find triadic, seventh, ninth, eleventh, and thirteenth chords. Some of those chords are built on major and minor scales, while others are derived from modal scales. Occasionally, the influence of impressionism is evident through the use of chords based on the whole tonal scale. / Most of de Maleingreau's organ works are written in part forms containing from one to nine sections. The most commonly found form includes three parts arranged in an ABA structure. Variations and fugal forms are also found occasionally. / De Maleingreau's contributions to the literature for the organ include music that is very practical and appropriate for usage in Roman Catholic and liturgical churches. Much of that music can be played by organists with limited technical ability. In addition, there are some virtuosic works which belong in the repertoire of the modern organ recitalist. / Source: Dissertation Abstracts International, Volume: 47-01, Section: A, page: 0011. / Thesis (Ph.D.)--The Florida State University, 1985.

This treatise focuses on three works for clarinet, viola, and piano. Included are biographical sketches of Schumann and Bruch, limited to the period concerning the respective compositions. An extended biography of Uhl, with historical data and discussions of stylistic influences, is also included. The treatise contains a brief outline of the development of the trio genre with an extensive discography of the compositions discussed and comprehensive list of published works for the medium. / Individual discussion of the pieces centers on formal and stylistic analysis. Each area of study is divided into chapters that include examination of compositional background, score particulars, form, and stylistic techniques. Musical examples are included to illustrate formal sections, themes, and unique areas. A separate chapter on relevant aspects of performance is included to encourage use of the treatise in practical applications. / Source: Dissertation Abstracts International, Volume: 56-08, Section: A, page: 2927. / Major Professor: John J. Deal. / Thesis (D.Mus.)--The Florida State University, 1995.

Source: Dissertation Abstracts International, Volume: 20-08, page: 3325. / Thesis (Educat.D.)--The Florida State University, 1959.

The focus of this document is the harmonic/tonal, formal, and orchestrational characteristics of Ernst von Dohnanyi's three symphonies (which date from his student years, early professional years, and final years, respectively). The study begins with a biographical sketch of Dohnanyi (Chapter I) and a survey of the symphonic genre to 1960 (Chapter II). Subsequently, a detailed analysis of each Dohnanyi symphony is presented (Chapters III-V) as well as a summary which addresses the historical perspective of these symphonies and the similarities and dissimilarities among Dohnanyi's formative, early, and late symphonic compositional procedures (Chapter VI). / The above-mentioned analyses indicate that the Dohnanyi symphonies--in terms of harmony/tonality, form, and orchestration--are fundamentally conservative romantic in nature; however, each successive symphony is imbued with an increased quantity of radical romantic qualities. Because each symphony is from a different period of Dohnanyi's life, these works reflect the metamorphosis of Dohnanyi's compositional style over the course of his entire life. / Source: Dissertation Abstracts International, Volume: 52-11, Section: A, page: 3762. / Major Professor: Peter Spencer. / Thesis (Ph.D.)--The Florida State University, 1991.

Le cantatrici villane by Valentino Fioravanti (1764-1837) is an excellent example of Neapolitan opera buffa as written in the late eighteenth and early nineteenth centuries. Written in 1798, it was Fioravanti's most successful opera and one of the most popular and widely performed comic operas of the period. Included in the dissertation is an introduction to the topic, a discussion of Fioravanti's life, a description of the various versions and sources of Le cantatrici villane, a performance history of the opera, a musical description of each of the musical numbers, and a step-by-step staging, which is accomplished through the use of description and diagrams. The appendices present a detailed list of Fioravanti's operas, a translation of the opera by Bodo Igesz, and copies of pertinent documents. The staging presented in the dissertation has been developed with the intention of being appropriate for production by college/university opera workshops. Among the several different versions of the opera, the currently available Ricordi score, which is the 1951 revision by Renato Parodi, was selected for use in the study due to its availability and because an English version of the Ricordi piano-vocal score is available. Le cantatrici villane is divided into two acts; the first act has two scenes. The second act uses the same set as the beginning scene. The Parodi versions of Le cantatrici villane is primarily an ensemble opera for six voices and several walk-on parts. After the overture, there are eleven numbers in the opera: two arias, one duet, three trios, two quartets, two interestingly constructed ensemble finales, and a short instrumental piece. For this staging, the recitatives are to be spoken. Overall, the demands on the voices of the singers are modest, and the piano score is not difficult. Because of its small cast, one-hour performance time, modest technical demands, humorous plot, and attractive music, Le cantatrici villane is well suited for production by college/university opera workshops. / Source: Dissertation Abstracts International, Volume: 46-09, Section: A, page: 2479. / Thesis (Ph.D.)--The Florida State University, 1985.

No description available.

(Nicolas) Jean-Blaise Martin (1768-1837) created numerous roles in operas-comiques by many of the most notable composers in Paris spanning the periods of the French Revolution, Consulate, Empire, and Restoration in a stage career that endured from 1789 to 1834. The outgrowth of his popularity was the creation of the voice type named for him, the baryton Martin, which at first represented the roles for which he was known, but later was developed by numerous French composers who expanded the high lyric baritone repertoire, including Bizet and Ravel. A discussion of the life of Martin is followed by more specific chapters discussing his voice and select roles sung by him. Works discussed include Les Visitandines (1792) by Francois Devienne, Joconde (1814) by Nicolo Isouard, Les Voitures versees (1808/1820) by Francois-Adrien Boieldieu, and Les Souvenirs de Lafleur (1833) by Fromental Halevy. The voice of Martin is described as to range, weight and timbre, as well as vocal characteristics that were identified with him, including his famous use of fioratura, the use of head voice for passages extending up into the tenor range, "patter" singing, and a frequent use of wide leaps. In addition, reviews are cited later in Martin's career to illuminate his vocal condition at the end of his career. Each opera-comique is discussed regarding the composer, the librettist(s), the work, including a brief plot summary, as well as a more specific discussion of one air from each that was sung by Martin. Various observations of these airs will attempt to give a more complete picture of the artist and singer. A brief discussion detailing the baryton Martin throughout the century will follow the summary of the document, and will detail singers of this voice type and roles written for them. The career of Martin is detailed in an appendix that lists many works in which the baritone sang, with pertinent information as available, as well as a listing of the theaters in which be performed.