Thesis (D.M.A.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: Kelly Burke ; submitted to the School of Music. Includes bibliographical references (p. 101-106)

Diss.--Hambourg, 1999. / Bibliogr. et sources p. 268-280.

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Cette thèse porte sur la comédie musicale américaine des décennies 1940 et 1950 à Broadway, illustrée par le répertoire du compositeur Leonard Bernstein. L'enjeu est d'analyser les différents mécanismes internes et externes de création des œuvres de cette époque. La comédie musicale étant un genre vivant à la croisée du théâtre, de la musique et de la danse, nous avons choisi de l'étudier selon plusieurs démarches : historique, structurelle, et typologique. D'un point de vue méthodologique, cette thèse s'appuie notamment sur l'analyse narrative et musicale de 156 musicals, et des trois comédies musicales de L. Bernstein en particulier. Dans un premier temps, la thèse se concentre sur la comédie musicale à Broadway dans les décennies 1940 et 1950, en explicitant les marqueurs historiques, narratifs, musicaux et chorégraphiques du genre. Dans un second temps, la thèse analyse le répertoire des musicals de L. Bernstein dans sa globalité, en interrogeant d'une part le style de l'artiste, et d'autre part la cohérence des œuvres entre elles et avec les canons mis en évidence dans la partie précédente. Enfin, l'étude de la comédie musicale On the Town (1944) explicite la genèse de l'œuvre, ses caractéristiques musicales et chorégraphiques, et la réception publique et critique du spectacle. / This dissertation deals with the American Broadway musical during the 1940's and the 1950's, illustrated by Leonard Bernstein's works. Our concern is to study the various internal and external processes of creation of these pieces during this period. As the Broadway musical is a lively genre overlaying theatre, music and dance, we chose to study it through multiple angles: through its history, its structure and its typology. From a methodological point of view, this dissertation will rely on the narrative and musical analysis of 156 musicals, and especially three of L. Bernstein's musicals. First this dissertation will focus on Broadway's musicals during the 1940's and the 1950's, and will clarify the genre's historical, narrative, musical and choreographic markers. Secondly we will study L. Bernstein's own musicals. We will make explicit the composer's style, and put to test the consistency of his works amongst themselves and with the genre's canons. Last but not least, our analysis of the musical On the Town (1944) we will highlight the show's genesis, its musical and choreographic markers, and its public and critical reception.

Theodor Adorno verkündete, das Model von Kurt Weill lasse sich nicht wiederholen. Seine Bühnenwerke wurden trotzdem zum unvermeidlichen Präzedenzfall für Komponisten auf beiden Seiten des Atlantiks. Diese Promotionsarbeit erkundet insbesondere die Rolle seiner formalen Innovationen im Musiktheater von Marc Blitzstein und Leonard Bernstein. Dabei haben die Komponisten seinem ästhetischen Beitrag zur amerikanischen Tradition entweder wiederstanden oder ihn heruntergespielt. Komparative Analysen aufgrund von Harold Blooms „Anxiety of Influence“ und anderen intertextuellen Methoden decken auf, dass die Grundsätze von Weills Opernreform eine einheimische Bewegung von anspruchsvollem, sozial-engagierten Musiktheater katalysierten. Die folgende Studie richtet den Fokus auf Werke, die verschiedene Phasen seiner Mission vertreten, die Gattung der Oper zu erneuern, eine Entwicklung, die sich von der Urform in Die Dreigroschenoper bis zum Musical Play (Lady in the Dark) und zur Broadway Opera (Street Scene) erstreckt. Blitzstein und Bernstein wiederum überwanden die formalen Grenzen zwischen Oper und Musical mit The Cradle Will Rock, Regina, Trouble in Tahiti, Candide und West Side Story, teil einer kurzlebigen Bewegung in Amerika des zwanzigsten Jahrhunderts. Dieselbe überschnitt sich mit einer Renaissance für Weills deutschsprachige Werke im Anschluss an die Premiere von Blitzsteins Übersetzung The Threepenny Opera unter Bernsteins Leitung. Das unveröffentlichte A Pray by Blecht, für welches Bernstein sich an Stephen Sondheim und Jerome Robbins, seine Kooperationspartner in West Side Story, wieder angeschlossen hat, vertieft den Bezug von Bernsteins Musiktheater-Ästhetik auf Weill. / Theodor Adorno famously proclaimed that the model of Kurt Weill could not be repeated. His stage works nevertheless set an inescapable precedent for composers on both sides of the Atlantic. My dissertation explores how Weill’s formal innovations in particular laid the groundwork for the music theater of Marc Blitzstein and Leonard Bernstein although they either resisted or downplayed his aesthetic contribution to American tradition. Comparative analysis based on Harold Bloom’s Anxiety of Influence and other modes of intertextuality reveal that the principles of Weill’s opera reform would catalyze an indigenous movement in sophisticated, socially engaged music theatre. The following study focuses on works that represent different phases of his mission to renew the genre of opera, evolving from the Urform (original or primitive form) in Die Dreigroschenoper to the musical play (Lady in the Dark) and Broadway Opera (Street Scene). Blitzstein and Bernstein in turn defied the formal boundaries between opera and musical theater with The Cradle Will Rock, Regina, Trouble in Tahiti, Candide and West Side Story, part of a short-lived movement in mid-twentieth century America that coincided with a renaissance for Weill’s German-period works following the premiere of Blitzstein’s translation, The Threepenny Opera, under Bernstein’s baton. The unpublished A Pray by Blecht, – for which Bernstein rejoined Stephen Sondheim and Jerome Robbins, his collaborators on West Side Story, – deepens the connection of Bernstein’s music theater aesthetic to Weill.

abstract: A resurgence of the American art song is underway. New art song composers such as Adam Guettel, Michael John LaChiusa, and Georgia Stitt are writing engaging and challenging songs that are contributing to this resurgence of art song among college students. College and University musical theatre programs are training performers to be versatile and successful crossover artists. Cross-training in voice is training a performer to be capable of singing many different genres of music effectively and efficiently, which in turn creates a hybrid performer. Cross-training and hybridity can also be applied to musical styles. Hybrid songs that combine musical theatre elements and classical art song elements can be used as an educational tool and create awareness in musical theatre students about the American art song genre and its origins while fostering the need to learn about various styles of vocal repertoire. American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive. Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song. / Dissertation/Thesis / Doctoral Dissertation Music 2018

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American mezzo-soprano, Beverly Wolff has not received the credit or respect that she deserves in operatic history. Her career began in 1952 and flourished until her retirement from the stage in 1981. Her intense characterizations, innate musicianship, and intelligence made her one of the most sought-after performers from the 1950s to the 1970s. For thirty years, she worked with some of the operatic world’s finest musicians, including Leonard Bernstein, Gian-Carlo Menotti, Samuel Barber, Ned Rorem, Beverly Sills, Norman Triegle, Placido Domingo, among others. She was represented by Columbia Artists Management Inc (CAMI), one of New York’s oldest and most prestigious management companies, and maintained an active performance schedule that often included operatic, concert, and recital performances in the same week. She trained at the American Vocal Academy in Philadelphia and was inducted into its Hall of Fame. She performed in New York, Boston, Washington, D.C., San Francisco, New Orleans, and Atlanta and was an active member of the New York City Opera, Handel Society, Tanglewood, and the Handel Society of Washington, D.C. Wolff is credited with over sixty recordings. She also appeared on several of NBC’s live operatic programs, which brought opera to the masses. Perhaps most importantly, she created and debuted several important roles in American opera. Few have heard of her; the purpose of this document is to fill in this gap in operatic history, and to clarify and correct misinformation about her. In this document, I will answer the following questions: What determines a performer’s worth? What secures a performer’s place in history? Finally, and more specifically, what imprints did Beverly Wolff leave for posterity?