Thesis (M.A.)--Brigham Young University. Dept. of English. / Bibliography: leaves 85-86.

This document chronicles the lighting design and production process of Jonathan Larson's RENT at SIU between the pre-design analysis stage in March 2012 and opening night on October 18, 2012 from an analytic perspective focusing on the relationship between lighting design and other major production elements. The first chapter details my artistic, pragmatic, and personal goals regarding the project. The second chapter exhibits my analysis and research of Larson's musical. By examining the incubation, selection, and implementation phases of the design and production process, the third chapter defines the methods by which I accomplished the project goals. The fourth and final chapter is an evaluation of the design and production process outcome in relation to the goals laid out in the first. The appendices include all documents associated with the design process: inspirational and research imagery, idea renderings, the lighting plot and paperwork, and production photographs. Two supplementary files are included alongside this document. The first is a collection of all pertinent lighting design paperwork and the second is a video compilation including a rendered flythrough of the scenery and several clips of performance footage referenced in Chapter Three.

La comédie musicale Rent de Jonathan Larson bouleverse l'univers de Broadway dès son arrivée en 1996. La pièce emprunte certes bon nombre d'éléments propres au genre, mais s'en sert pour mettre de l'avant une réalité crue et marginale, dépeinte sur un fond musical résolument plus rock. Elle offre un regard intime sur les conséquences du sida, inspiré du contact de Larson avec le syndrome par l'intermédiaire de ses amis atteints. Pourtant, alors qu'elle profite d'un succès populaire indéniable, Rent demeure à ce jour boudée de façon générale par les groupes militants à titre d'instrument légitime de sensibilisation dans la lutte contre le sida. Ce mémoire a pour but d'explorer la force subversive réelle de l'œuvre de Larson, c'est-à-dire si Rent manque effectivement la profondeur et la pertinence nécessaires pour revendiquer sa place dans les rangs militants, ou si son potentiel d'outil de transformation sociale ne s'avère pas simplement éclipsé par l'ampleur du phénomène commercial qui l'entoure. Pour ce faire, la façon dont Larson utilise le genre de la comédie musicale pour traiter du sida est considérée sous tous les aspects suivants. D'abord, l'auteur parvient, par la déconstruction des stéréotypes liés aux personnes séropositives et du discours entourant le syndrome, à solliciter une écoute active des spectateurs, en les sensibilisant aux dangers des préjugés et de la marginalisation et en leur montrant les émotions et les conflits intérieurs vécus par les victimes. Ensuite, Larson exploite les possibilités offertes à la fois par le caractère intrinsèquement interartial de la comédie musicale et par son hybridité. Ainsi, le mélange des arts de la scène participe au dynamisme du propos, tandis que l'intégration d'autres genres éprouvés renforce la capacité de diffusion de l'œuvre. Enfin, la pièce de Larson est remise dans le contexte des conséquences et des attentes liées à la désignation d'œuvre sur le sida. Cette réflexion met en lumière la pertinence de la construction de Rent sous forme de témoignage, forme tout à fait adéquate de sensibilisation, capable de véhiculer efficacement les problématiques traitées dans la lutte contre le sida. En ce sens, il semble que la réussite commerciale de Rent ne tienne pas seulement à l'application d'une recette éprouvée, réinventée avec succès, mais bien à une indéniable capacité à opérer une conscientisation de son public à l'égard d'un syndrome qui, depuis son apparition, a transformé les relations humaines. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Rent, Jonathan Larson, comédie musicale, stéréotype, sida, marginalisation, intermédialité, interartialité, distanciation, témoignage.

Thesis (LL. M.)--University of Toronto, 2004. / Adviser: Jennifer Nedelsky.

Thesis (M.A.)-- Brigham Young University. Dept. of English. / Includes bibliographical references.

Syftet med den här uppsatsen har varit att ta reda på varför Lisa Larson har blivit så populär i Japan.  Efter att ha gjort en kort beskrivning av konstnären Lisa Larson, hennes bakgrund och konstnärskap på Gustavsberg och som fri yrkesutövare har studier gjorts vad som har inspirerat henne. Skolan HDK och museerna i Göteborg, H55, konstnärerna på Gustavsberg var alla inspiratörer till Lisa Larson. Miljön på Gustavsberg var stimulerande på 50- och 60-talen med en alltmer växande marknad. Formgivning och design var på ropet. 1955 debuterade Larson som formgivare på Gustavsberg. Japanernas intresse för skandinavisk design kan spåras tillbaka till 1950-talet. På 1990-talet accelererade intresset med begreppet Scandinavian design och även Lisa Larsons jordnära figurer. Det enkla, minimalistiska uttrycket och god kvalité förenar de båda länderna. För att tolka upphovet till Larsons framgångar i Japan på 2000-talet och belysa frågeställningen har studier gjorts om japansk kultur och religion för att se en förklaring i japanernas sätt att se på hennes design och konsthantverk.

Uppsatsen undersöker på vilket sätt konstnärerna Caspar David Friedrich och Marcus Larsons konst influerats av epoken romantiken samt om deras bildkonst kan ha kopplingar till den gotiska litteraturens tematik.

Uppsatsen undersöker hur konstnärerna Caspar David Friedrich och Marcus Larson kan ha influerats av epoken romantiken i deras konst samt att den undersöker om deras bildkonst kan kopplas till den gotiska litteraturens tematik.

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.