This thesis is a culmination of an AHRC funded collaborative doctoral award between the Centre for Research in Opera and Music Theatre at Sussex University and Glyndebourne Festival Opera. The research took the form of a Composer in Residence scheme in 2006-9 and the submission consists of three new operatic projects, Followers, The Yellow Sofa and Knight Crew. The thesis takes the form of a series of four case studies which explore the creative and aesthetic resonances of the above works in addition to a study of Péter Eötvös's new opera Love and Other Demons, commissioned by Glyndebourne for the 2008 Festival. The exploration of all four case studies is intended to offer a range of possible models for the future development of the operatic art form. The central creative research questions of this project relate broadly to questions of context and the reanimation of tradition. In terms of context, each of these four operatic case studies considers the perspective of the commissioning opera company, of the creative team, of singers and instrumentalists and of audiences. In terms of the reanimation of tradition, this research considers ideas around narrativity in opera and the centrality of the operatic voice and operatic lyricism. The polystylistic nature of opera is just one of several other themes that emerge as a consequence of this research. The thesis lays out each case study in chronological order beginning with an introductory chapter that describes the terms of the residency. Chapter Two considers the site-specific promenade opera Followers, Chapter Three examines the gestation of Péter Eötvös's new opera Love and Other Demons, Chapter Four details the chamber opera The Yellow Sofa developed as part of Glyndebourne's Jerwood Chorus Development Scheme, while Chapter Five projects the central themes of this research onto a larger-scale, grand operatic canvas in a community-specific context. A final Chapter Six concludes with a sketch for a new operatic aesthetic, which attempts to synthesise the creative and research experience of this composer residency.

Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the text was then translated into Latin. Le speaker speaking in the audience’s native language with a detached voice is added to the opera-oratorio to narrate the events of the story throughout. With its mixed genres, the juxtaposition of the dead language and the vernacular, the contrast of the spoken word and the music performance, and the intertexual references in the music, a strong dialectical tension is created. This study is a critical review of the narrative mode of Stravinsky’s Oedipus Rex. For a very long time, literature on Oedipus Rex has mainly focused on the presentation of its music. However, as an opera-oratorio, Oedipus Rex is composed to stage. This study aims at investigating the theatrical significance of the work, for its theatrical presentation is influential and profound in 20th century music theatre. Of particular note is the use of le speaker. The narration inserted in between each musical episode creates a sense of ambivalence in the storytelling. The work is therefore a bold challenge to the way stories have been told in theatre over the past centuries. The discussion concludes with the analysis of Julie Taymor and Seiji Ozawa’s film version of Oedipus Rex in 1992. With Japanese elements infused in the work, the dramatic tension between the spoken word and the music performance is further polarised. This production is an example of how a combination of the spoken word and the music performance pushes the Oedipus story further away from Sophocles’ original. / published_or_final_version / Music / Master / Master of Philosophy

Thesis (Honors)--Liberty University Honors Program, [date]. / Includes bibliographical references. Also available through Liberty University's Digital Commons.

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Thesis (D.M.A.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references. Available also in a digital version from Dissertation Abstracts.

李麗虹. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 131-137. / Li Lihong. / Chapter 第一章 --- 前言 --- p.6-12 / Chapter 第一節 --- 硏究地區之選擇 / Chapter 第二節 --- 過去及當前之硏究 / Chapter 第三節 --- 硏究目標 / Chapter 第四節 --- 資料來源 / Chapter 第二章 --- 台灣布袋戲的源流、發展及布袋戲名稱的由來 --- p.13-28 / Chapter 第一節 --- 布袋戲名稱的由來 / Chapter 第二節 --- 台灣布袋戲的源流及發展 / Chapter 第三章 --- 布袋戲班的構成因素及《小西園》布袋戲班的介紹 --- p.29-49 / Chapter 第一節 --- 布袋戲班的構成因素 / Chapter 第二節 --- 小西園布袋戲班建團歷史及內部組織的硏究 / Chapter 第四章 --- 布袋戲音樂在台灣的發展、演變及北管音樂的使用 --- p.50-72 / Chapter 第一節 --- 布袋戲音樂的發展與演變 / Chapter 第二節 --- 北管的範圍與分類 / Chapter 第三節 --- 北管的演出形式 / Chapter 第四節 --- 布袋戲伴奏的樂器 / Chapter 第五章 --- 布袋戲北管聲部音樂的分析 --- p.73-104 / Chapter 第一節 --- 艾倫´Ø洛馬克斯，歌唱測定體系（Alan Lomax Cantometrics)方法的說明 / Chapter 第二節 --- 十首歌曲的分析硏究 / Chapter 第三節 --- 十首歌曲聲響效果的總結 / Chapter 第六章 --- 結論 --- p.105-107 / 附錄一 譜例 --- p.108-119 / 附錄二圖片說明 --- p.120-130 / 參考書目 --- p.131-138

From Heaven, Through the World, to Hell is a theatrical piece which makes reference to various versions of the Faust legend. There are two versions of the piece: the full version for actress-singer, CD, computer, and four chamber ensembles (piano quintet, baroque trio, jazz quartet and modern ensemble), and the solo version for actress-singer, CD, and computer. The work explores the Faust legend within a technological musical theatre framework, and makes extensive use of live computer interaction using the Max/MSP programming environment. The singer interacts with the computer using an infrared sensor, allowing her to trigger as well as shape many of the sounds in the piece through physical gestures. This piece was written for g.e.m.s. (the Group of the Electronic Music Studio) as part of the McGill University Faculty of Music composer-in-residence program between 1998--1999.

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Heroes Are Born Then Made is a theatre piece involving live actors on stage, and live music originating from an orchestra pit. The script and music is original. The music is meant to literally depict actions and emotions on stage whether the actors are present or not. The duration of the entire production is about two and one-half hours long. Six main actors are used with additional walk-ons. Sixteen musicians are required to make up the orchestra which is organized into a woodwind quartet, a brass trio, a string quartet, a piano, and a percussion quartet. The play is based on the author's conception of how people tend to treat each other when someone is caught at a disadvantage. Specifically it is a depiction of the conflict involved when the minor characters discover that the main character is trying to do something quite different from their definition of "normal."