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This study is an investigation of adaptations of the Greek tragic chorus since World War II, including the historical, political, and aesthetic contexts that gave rise to these adaptations. Influenced by recent work in the field of Classical Performance Reception and Linda Hutcheon’s work on adaptation, this thesis is designed not around a set of case studies, but around a variety of research questions, including: the current definition of “the chorus” and how it might include the “one-person chorus”; the techniques of mediation used by modern choruses and how they might relate to techniques of the ancient chorus; the connection between political adaptations and the encouragement of audience “complicity”; and the complexities involved in the production and reception of intercultural choruses. I begin by arguing that although August Wilhelm Schlegel’s conception of the chorus as an “ideal spectator” remains the most persistently popular model of understanding the chorus, it should be replaced with a new model based on the concentric frames of performance described by Susan Bennett. Through the use of this model, the chorus is revealed as a liminal, oscillating figure that mediates the action for the audience, and I argue that these qualities have made the chorus an attractive element of tragedy to modern adapters. In the case studies that are offered throughout, I further develop this model in order to analyze the ways in which modern choruses create relationships with audiences, as well as what political or ideological functions these relationships are intended to serve. The model that I develop encourages an engagement with both the intentions of adapters and the realities of reception, and I therefore explore not only how communication strategies of the chorus are intended to operate, but also the issues these strategies raise and the challenges adapters - and their choruses - encounter.

This study is an investigation of adaptations of the Greek tragic chorus since World War II, including the historical, political, and aesthetic contexts that gave rise to these adaptations. Influenced by recent work in the field of Classical Performance Reception and Linda Hutcheon’s work on adaptation, this thesis is designed not around a set of case studies, but around a variety of research questions, including: the current definition of “the chorus” and how it might include the “one-person chorus”; the techniques of mediation used by modern choruses and how they might relate to techniques of the ancient chorus; the connection between political adaptations and the encouragement of audience “complicity”; and the complexities involved in the production and reception of intercultural choruses. I begin by arguing that although August Wilhelm Schlegel’s conception of the chorus as an “ideal spectator” remains the most persistently popular model of understanding the chorus, it should be replaced with a new model based on the concentric frames of performance described by Susan Bennett. Through the use of this model, the chorus is revealed as a liminal, oscillating figure that mediates the action for the audience, and I argue that these qualities have made the chorus an attractive element of tragedy to modern adapters. In the case studies that are offered throughout, I further develop this model in order to analyze the ways in which modern choruses create relationships with audiences, as well as what political or ideological functions these relationships are intended to serve. The model that I develop encourages an engagement with both the intentions of adapters and the realities of reception, and I therefore explore not only how communication strategies of the chorus are intended to operate, but also the issues these strategies raise and the challenges adapters - and their choruses - encounter.

This composition portfolio comprises nine original compositions: Erebos (solo violin and chamber ensemble, 2014), Sisyphus Syndrome (clarinet in Bb and percussion, 2014), Aether (solo accordion, 2014), Aether II (brass band, 2014), Boreas (s.a.t.b chorus with soprano and tenor soloists, 2014), Eremos (flute choir and percussion, 2014), Helen (solo mezzo-soprano, solo cello, double chorus (s.a.t.b, s.a.t.b), 4 horns in F and timpani, 2015), Aphrodite Anadyomene (clarinet in Bb, violin, cello and piano, 2015) and Teotihuacan (symphony orchestra, 2016). This accompanying commentary discusses compositional concerns explored within the compositions. This includes an approach to creating binary oppositions, which is based upon a combination of Elliott Carters stratification techniques in combination with Lutoslawskis interval partitioning techniques. Additionally, approaches to creating musical drama and structural trajectory are explored. This includes drawing upon the structure of Greek tragedy by using Birtwistles Tragoedia as a starting point, juxtaposing and superimposing binary oppositions and using Stravinskian block structures. I also describe how my instrumental compositions have been influenced by electroacoustic music and describe a method of implementing Thoresens typology to plan and trigger textures and timbral ideas.