Thesis (D.M.A.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 227-235).

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[pt] Esta tese é um trabalho teórico-prático sobre a tradução vocal para o português dos números musicais da ópera Porgy and Bess, de George Gershwin, sobre libreto de DuBose Heyward e letras de DuBose e Ira Gershwin. Aqui a tradução vocal é entendida como aquela destinada ao canto. Portanto, as traduções estão organizadas e editadas em partituras de redução da ópera, isto é, vocal(ais) e piano. Somam-se a esse núcleo da tese dois capítulos. Um teórico, em que são discutidas as principais tendências do recente campo de estudos sobre a tradução de ópera, e outro de comentários sobre a tradução realizada. / [en] This thesis is a theoretical-practical work on the vocal translation into Portuguese of the musical numbers from George Gershwin s opera Porgy and Bess, with libretto by DuBose Heyward and lyrics by DuBose and Ira Gershwin. Here vocal translation is understood as that intended for singing. Therefore, the translations are arranged and edited into reduction scores of the opera, that is, vocal(ls) and piano. Added to this core of the thesis are two chapters. One is theoretical, in which the main trends of the recent field of studies on opera translation are discussed, and the other is a commentary on the translation performed.

This thesis addresses the matter of convention in Broadway songs of the song and dance era. Composers worked with implicit, regular procedures in the commercial aesthetic of the 1920s and 1930s New York theater industry. However, discussions of formal convention in this repertoire have not gone much beyond the identification of AABA and ABAC forms. I explore how hypermeter and conventional formal layouts act as schemata. Through this lens, I advocate for an in-time, listener-based approach to form, attending to the stylistically learned projections and anticipations. Later on, I unpack many of the conventional patterns underlying the ABAC form. I argue that the ABAC form provides a template for climactic musical narratives, which places climaxes near the end of the form. Lastly, I focus on AABA form where I highlight many salient conventions of the AABA form and draw historical connections to AABA forms in rock and jazz.

The evolution of twentieth century American music involves much more than the continuation of European tradition. The music of black Americans before and after the turn of the century had a profound impact on the musical sensibility of American culture in general. Additionally, the fledgling popular music publishing industry had a dramatic effect on the course of "classical" tradition. Nowhere was this more apparent than in the music of George Gershwin. Gershwin's importance in the history of American art music is undisputed. Why his music sounds the way it does is less understood. This paper considers the popular and folk genres that most influenced the young caiposer, and traces specific stylistic elements through their various popular and folk incarnations of the previous thirty years into Gershwin's Rhapsody in Blue of 1924.

<p>Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function.</p><p>The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics.</p><p>I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation.</p><p>In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.</p>

Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function. The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics. I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation. In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.

HOREJŠOVÁ, Martina: George Gershwin: Concerto in F for piano and orchestra [Diploma thesis]. Charles University in Prague. Faculty of Arts. Institute of Musicology. Supervisor: prof. PhDr. Jarmila Gabrielová, CSc. Prague 2016. The main theme of the diploma thesis is a musical analysis of Concerto in F - the only Gershwin's piano concert from 1925. This diploma thesis also contains information about composer's life, contemporary historical context with relation to American cultural, social and political climate. As well text includes contemporary musical production, which influenced Gershwin's compositional technique. There will also be a comparison between George Gershwin and two other composers (Sergei Rachmaninoff and Maurice Ravel) who also created concert for piano and orchestra in the early 20th century.

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