The incidental music for Chansons de Bilitis is little known and rarely performed. However, the relegation of this work to the realms of obscurity is highly unjustified. Chansons de Bilitis requires an unusual combination of instruments: two flutes, two harps, and celesta in addition to a reciter. The work is a theater piece in the tradition of melodrama, with spoken text and background music in alternation. Despite the rather unique nature of the work, many of the melodic, textural, and orchestrational devices for which Debussy is noted are evident. The music is throughcomposed; each movement mirrors and emphasizes the meaning and mood of the accompanying poem. Because of the fragmentary nature of the music and its rather subordinate role in the total theater work, the primary emphasis in gaining an appreciation of the value of the work lies in an investigation of its historical background.

The musical analysis of Greek tragedy has traditionally been limited to studies of meter and metatheatrical language. This dissertation seeks to establish a new approach to ancient dramatic song by demonstrating that the linguistic pitch accents of tragic lyrics often trace the melodic contours of their lost musical settings. In the papyri and inscriptions that preserve music notation alongside Greek lyrics, intonation and melody are often coordinated according to set principles, which are well established by previous scholarship. Through the creation of software that applies these historical principles to tragic texts, I demonstrate that stanzas sung to the same melody are significantly more similar in their accentual contours than control groups that do not share a melody. In many instances, the accents of these paired texts consistently trace the same pitch contours, allowing us to reconstruct the shape of the original melody with a high degree of confidence.After a general introduction, the dissertation’s first two chapters address the historical basis for this approach. Chapter 1 reviews the evidence for the musical structure of tragic song, confirming the widely held view that paired stanzas were generally set to the same melody. Chapter 2 turns to the evidence for the role of pitch accents in ancient Greek song, including the ancient testimony and musical documents, and a computational study of accent patterns across all the lyrics of Aeschylus’ surviving tragedies. The methodology developed in these first two chapters is applied in two case studies, in which I reconstruct and interpret the accentual melodies of select tragic lyrics. Chapter 3 analyzes the musical design of the chorus’ entrance song in Aeschylus’ Agamemnon, along with sections of the Kommos from Choephori. In both cases, I argue, melody would play an integral role in highlighting the themes of repetition and reversal within the Oresteia. Chapter 4 turns to the music of Euripides’ Medea, a play that has been central to previous discussions of accent in tragic music. Reading the lyrics and accentual melodies within the framework of musical history as understood in the fifth century bce, I argue that Euripides uses a contrast between ‘old’ and ‘new’ melodic styles to position his chorus at a turning point within literary history. In the dissertation’s final chapter, I address the reception of Medea’s music in a fragmentary comedy, the so-called Alphabet Tragedy of Callias. Together, these interpretive chapters provide a template for future work applying methods of musical analysis to the accentual melodies of ancient Greek song.

El presente trabajo de investigación tiene como finalidad explorar y entender el rol del sonido en los videojuegos lanzados al mercado entre 1996 a 2019, usando Resident Evil 7 (2017) como un estudio de caso. Para un mejor análisis del apartado sonoro se ha dividido el estudio del sonido en dos partes: música incidental y sound design, teniendo presente, además, que la línea que divida música y efecto de sonido es cada vez menor. La primera parte del trabajo se centra en el rol de la música incidental en el videojuego; la forma en que el mismo, como medio audiovisual no-lineal e interactivo, necesita un acercamiento diferente al de otros medios lineales como el cine; y un análisis musical de la banda sonora de dos videojuegos de la saga Resident Evil con más de quince años de diferencia, con el fin de apreciar como ha evolucionado el rol de la música en el videojuego. La segunda parte del trabajo se centra en el rol del sound design en el videojuego; analizando la complejidad de este apartado; la forma en que la misma interactua con la música al punto de compenetrarse, viéndose el videojuego como medio interactivo, favorecido de esta interacción. La tercera parte del trabajo se centra en la relación que existe entre la implementación sonora, composición musical y sound design. Se busca con el presente trabajo contribuir al estudio y entendimiento del sonido en el videojuego, y la relación de este apartado con sus principales características: interactividad y no-linealidad. / The present research aims to explore and understand the role of sound in video games released on the market between 1996 to 2019, using Resident Evil 7 (2017) as a case study. For a better analysis of the audio section, the study of sound has been divided into two parts: incidental music and sound design, bearing in mind, in addition, that the line that divides music and sound effect is less and less. The first part of the work focuses on the role of incidental music in the video game; the way in which it, as a non-linear and interactive audiovisual medium, needs a different approach than other linear media such as cinema; and a musical analysis of the soundtrack of two video games in the Resident Evil saga more than fifteen years apart, in order to appreciate how the role of music in the video game has evolved. The second part of the work focuses on the role of sound design in the video game; analyzing the complexity of this section; the way in which it interacts with music to the point of interpenetrating, seeing the video game as an interactive medium, favored by this interaction. The third part of the work focuses on the relationship between sound implementation, musical composition, and sound design. This work seeks to contribute to the study and understanding of sound in the video game, and the relationship of this section with its main characteristics: interactivity and non-linearity. / Trabajo de investigación

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Hamlet a longtemps été une partie inséparable de l'identité nationale russe. Cependant, les mises en scène d’Hamlet en Union soviétique (surtout en Russie) durant l'époque de Staline présentèrent des problèmes spécifiques liés aux doctrines idéologiques imposées sur les arts et la culture en général ainsi qu’aux idées reçues concernant l’opinion personnelle de Staline envers de la tragédie. Les deux mises en scènes principales d’Hamlet en Russie au cours de cette période ont été celles réalisées par Nikolai Akimov (1932) et Sergei Radlov (1938). Un réexamen approfondi de ces mises en scène, entrepris dans les chapitres centraux de cette thèse, révèle des détails précédemment inconnus au sujet de leurs conceptions, réalisations, réceptions et au-delà. Cela met en évidence l'importance du rôle de la musique de scène composée pour elles par Dimitri Chostakovitch et par Sergei Prokofiev, respectivement, et suggère l'interaction complexe des agendas individuels et institutionnels. Ce travail a été rendu possible grâce à de nombreuses visites aux archives russes, qui contiennent de précieux documents tels que des livrets des mises en scène et les rapports sténographiques de discussions, précédemment non référencées à l'Ouest. Ces chapitres centraux sont précédés d'un aperçu historique d’Hamlet en Russie et de la musique et de Shakespeare en général. Ils sont suivis par une enquête au sujet des adaptations notables d’Hamlet à la fin de l’époque de Staline et après la mort du dictateur, se concentrant sur ceux qui contiennent les contributions musicales les plus importantes. Le résultat est un aperçu plus riche et plus complexe de l'image familière d’Hamlet comme miroir de la société russe / soviétique. / Hamlet has long been an inseparable part of Russian national identity. Staging Hamlet in Russia during the Stalin era, however, presented particular problems connected with the ideological framework imposed on the arts and culture as well as with Stalin’s own negative perceived view of the tragedy. The two major productions of Hamlet in Russia during this period were those directed by Nikolai Akimov (1932) and Sergei Radlov (1938). Thorough re-examination of these productions, as undertaken in the central chapters of this dissertation, reveals much previously unknown detail about their conception, realisation, reception and afterlife. It highlights the importance of the role of music composed for them by Dmitry Shostakovich and Sergei Prokofiev, respectively, and it suggests a complex interaction of individual and institutional agendas. This work has been made possible by numerous visits to Russian archives, which contain invaluable documents such as production books and stenographic reports of discussions, previously unreferenced in Western scholarship. These central chapters are preceded by a historical overview of Hamlet in Russia and of music and Shakespeare in general. They are followed by a survey of major adaptations of Hamlet in the late-Stalin era and beyond, concentrating on those with significant musical contributions. The outcome is a richer and more complex account of the familiar image of Hamlet as a mirror of Russian/Soviet society.

La tesis está estructurada en dos partes. En la primera parte establecemos el marco teórico-analítico para analizar las partituras y textos elegidos. Este marco es la dramaturgia musical de la que aclaramos conceptos y establecemos tipologías que nos sirvan para el análisis de la música en las obras de teatro. También hacemos un repaso histórico de las intervenciones musicales para teatro.En la segunda parte describimos la interrelación entre el director de escena Cayetano Luca de Tena y el director musical Manuel Parada de la Puente mediante escritos que lo demuestran, dentro del Teatro Español de Madrid en los comienzos del Régimen Franquista. También realizamos un análisis de la música incidental de las diecinueve obras de teatro elegidas como muestra, conjuntamente con el análisis de los elementos de dramaturgia musical de sus textos correspondientes para la reconstrucción de su puesta en escena. / The thesis has two parts. In the first one we establish the theoretical-analytical frame in order to analyze the chosen scores and texts. This frame is the musical dramatical, from which we define concepts and we establish a classification so that it can help us to analyze the music in the plays. We also make a historical evaluation of the music in the plays. In the second part we make a description of the interactive relationship between Cayetano Luca de Tena, Scene Director, and Manuel Parada de la Puente, Musical Director, with documents with prove it, in the Spanish Theatre of Madrid at the beginning of the Franquism Regime. We also do an analysis of the incidental music of the nineteen theatre plays chosen like a sample, as well as the analysis of the elements of musical dramatical from its texts in order to reconstruct the plays.

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[ES] En el presente trabajo se estudia la relación de las estrategias narrativas de la música atonal en la ópera de la Escuela de Viena y el cine de la segunda mitad del Siglo XX. Como muestra de la información transmitida en los usos musicales de cada género dramático, se realiza un análisis audiovisual y comparativo de las óperas Erwartung, Wozzeck, Lulú y Moses und Aron junto con las películas Force of evil, The cobweb, Doctor Faustus y The man with the Golden arm. El principal propósito es mostrar las distintas formas en las que se establece la narratividad musical como parte del transcurso histórico del SXX, así como definir la forma en la que afectan al cine y la ópera sus posibilidades y limitaciones dramáticas. / [CA] Al present treball s'estudia la relació de les estratègies narratives de la música atonal a l'òpera de l'Escola de Viena i junt al cinema a la segona meitat del segle XX. Com a mostra de la informació transmesa als usos musicals de cada gènere dramàtic, es realitza un anàlisi audiovisual i comparatiu de les òperes d'Erwartung, Wozzeck, Lulú i Mosses und Aron junt amb les pel·lícules Force of evil, The cobweb, Doctor Faustus i The man with the Golden arm. El principal propòsit es mostrar les distintes formes en les que s'establix la narrativitat musical com a part del transcurs històric del segle XX, així com definir la manera en la que afecten al cinema i l'òpera les seves possibilitats i limitacions dramàtiques. / [EN] This paper will focus on the relationship between the narrative strategies of atonal music in the opera of the Viennesse School and the cinema of the second half of the twentieth Century. By using a sample of the information transmitted in the musical uses of each dramatic genre, an audiovisual and comparative analysis will be made, based on the operas Erwartung, Wozzeck, Lulú and Moses und Aron and the films Force of evil, The cobweb, Doctor Faustus and The man with the Golden arm. The purpose of this analysis is to show the different ways in which musical narrativity is established as part of the historical course of the past century, as well as to define the way in which their dramatic possibilities and limitations affect cinema and opera. / Martín Quintanal, R. (2023). El atonalismo como música incidental: un estudio comparativo sobre la ópera de la Escuela de Viena y el cine de la segunda mitad del Siglo XX [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/195694