<p> The Broadway musical <i>Bloomer Girl</i> (1944) with score by composer Harold Arlen (1905&ndash;1986) and lyricist E.Y. Harburg (1896&ndash;1981) was the first book musical to follow in the footsteps of Rodgers and Hammerstein's <i> Oklahoma!</i> The obvious parallels between <i>Oklahoma!</i> and <i>Bloomer Girl</i> led critics and scholars to compare the musicals at the expense of overlooking the contributions the latter made to the genre. This thesis moves <i>Bloomer Girl</i> out from the shadow cast by <i>Oklahoma!</i> and situates it within a richer historical context. It begins with a brief history of <i>Bloomer Girl.</i> It then focuses specifically on both the dramatic and musical representation of women in the work. Using a comparative methodology, this study examines how the women in <i>Bloomer Girl</i> deviate from the model for the Golden Age musical to create a controversial political commentary about the United States in the World War II era.</p>

Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

<p> This thesis examines the relationship between Giuseppe Verdi and the Paris Opera and the stage works that Verdi composed or reworked as a result of this business venture. Between 1847 and 1867, Verdi accepted four formal commissions for Paris: Jerusalem (1847), <i>Les v&ecirc;pres siciliennes </i> (1855), <i>Le trouv&egrave;re</i> (1857) and <i> Don Carlos</i> (1867). After a brief introduction discussing Verdi's career before Paris, each commission is discussed in detail from the genesis of the work through its premiere, and the eventual outcome of each opera. This study also evaluates the benefit of this collaboration to Verdi's international career given the requirements and time expended to produce each commission. It explores Verdi's adaptation to cultural differences, his handling of foreign business affairs, and his personal feelings toward French society. Much of the source material is drawn from Verdi's own writings and correspondence, as well as the writings of several Verdi scholars.</p>

The author's inaugural dissertation, Erlangen, 1923. cf. Vorwort. / Music: 3 fold. l. at end. "Verzeichnis der ermittelten Schauspielkompositionen": p. 138-151. Bibliography: p. [154]-159.

The author's inaugural dissertation, Erlangen, 1923. cf. Vorwort. / Music: 3 fold. l. at end. "Verzeichnis der ermittelten Schauspielkompositionen": p. 138-151. Bibliography: p. [154]-159.

<p> Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women&rsquo;s contributions to society. The messages of Cryer and Ford&rsquo;s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings. </p><p> In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.</p><p>

<p> There are currently ten available works by Antonino Pasculli (1842-1924) for solo oboe or English horn and accompaniment inspired by themes from nineteenth-century operas by Bellini, Donizetti, Meyerbeer, and Verdi. These pieces are so virtuosic that Pasculli has been dubbed the &ldquo;Paganini of the Oboe.&rdquo; The technical demands can be so high that performers can neglect to approach artistic and scholarly interpretation of his lyrical passages. Some editions of his music list the referenced act and scene number from the original source. No existing editions include complete text from the original vocal excerpts or the context from the plots of each respective opera. This volume contains the complete text of the vocal excerpts Pasculli uses, insights from the dramatic plot context, and advice to performers on how to apply such information to an instrumental performance.</p>

<p> This paper reviews current and historical opera marketing practices and analyzes the marketing mix (product, place, promotion, price, and people) of major opera companies in the United States. The purpose of this paper is to determine methods to attract and build sustainable, less homogenous audiences. Surveys were conducted to determine public perceptions about the art form from both opera-goers and non-opera buyers and interviews with leaders within the field of opera marketing revealed current trends. The paper provides insights about changes within the field in recent years and offers suggestions for improvement based on the success of other opera companies and other artistic organizations.</p><p>

二戰後，歐洲歌劇院（尤其是德國歌劇院）興起了一場歌劇製作的革命。新一代歌劇導演往往不再遵循作曲家的原意, 而以當下的視角重新審視並闡釋作曲家的文本。人們因而將此類歌劇製作稱為“導演制歌劇(Regieoper)。筆者認為，導演制歌劇脫胎于民主德國的先鋒派戲劇製作。在導演制歌劇中，歌劇導演不僅顛覆了歌劇文本的原意，更試圖通過歌劇製作來反思整個西方歌劇的傳統。 / 本文以哈瑞·庫普夫(Harry Kupfer)1989 執導的格魯克(Christoph WillibaldGluck)歌劇《奧菲歐與尤麗蒂契》(Orfeo ed Euridice)與卡特琳娜·瓦格納(Katharina Wagner)2007 年執導的瓦格納(Richard Wagner)歌劇《紐倫堡的名歌手》(Die Meistersinger von Nürnberg)為例，展示“導演制歌劇“導演對當代歌劇運作機制(operatic institution)的質疑。《奧菲歐與尤麗蒂契》與《紐倫堡的名歌手》的原作皆為“元歌劇“ (“meta-operas“)，兩位作曲家格魯克與理查·瓦格納通過劇中的人物和情節，探索音樂與歌劇創作的美學本質。兩位導演沒有因循原作者的觀點。相反，他們的製作類似於“元製作“(“meta-productions“)，籍由大量改動作曲家的文本，反思當代歌劇運作機制的美學屬性和政治功能。哈瑞·庫普夫的《奧菲歐與尤麗蒂契》表達了當代古典音樂演出中，音樂家個人情感表達與公眾媚俗品味之間的矛盾。卡特琳娜·瓦格納的版本則借用了前人的文本探討歌劇製作與政治的關聯。 / 本文分為四個章節。第一章梳理了當前學界對“導演制歌劇“的研究和討論。第二章與第三章分別聚焦哈瑞·庫普夫與卡特琳娜·瓦格納的兩部“導演制歌劇“。由此，筆者在第四章中指出“導演制歌劇“具有強烈的自我批判傾向，與二戰後歐洲盛行的文化價值重估思潮息息相關。 / Regieoper (“director’s opera“) refers to a staging practice in postwar European (especially German) opera houses. Evolved from East German avant-garde theatrical productions, Regieoper de-familiarizes canonical operas with drastic changes to the work’s original settings; at the same time, it often presents additional self-reflexive narratives that question the underlying motivations of the operatic institution. / In this study, I examine two Regieoper productions as directors’ critiques of the operatic institution, namely Harry Kupfer’s production of Christoph Willibald Gluck’s Orfeo ed Euridice for the Komische Oper Berlin (1989) and Katharina Wagner’s production of Richard Wagner’s Die Meistersinger von Nürnberg for the Bayreuth Music Festival (2007). Both C.W. Gluck and R. Wagner’s original operas are “meta-operas“, in which the composers reflect on the role and nature of music. Harry Kupfer’s and Katharina Wagner’s “meta-productions“, in turn, question and critique Gluck’s and R. Wagner’s aesthetic arguments in relation to contemporary social and cultural contexts. Harry Kupfer questions whether sincere artistic expression can survive within contemporary classical music institutions, while, Katharina Wagner raises moral questions about the political role of the operatic canon. / The study is divided into four chapters. It begins with a theoretical and historical overview of Regieoper, examining it in the light of recent musicological discussions about the “work-concept“, “idealized performance“, and the “textuality of opera“. Chapters Two and Three are detailed analyses of the two “meta-productions“. To conclude, I contend that these two case studies illustrate Regieoper’s critical engagement with meta-issues in contemporary opera production, and argue that this self-reflexive attitude is related to the Zeitgeist of postwar Europe. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Xu, Lufan. / "December 2012." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 79-89). / Abstracts also in Chinese. / English Abstract --- p.i / Chinese Abstract --- p.ii / Acknowledgements --- p.iii / Table of Contents --- p.v / Table of Figures --- p.vi / CHAPTER ONE: / Introduction --- p.1 / Opera in Performance --- p.1 / Regieoper’s Challenges: Origins and Motivations --- p.11 / The Academic Response to Regieoper --- p.19 / Opera Texts and Production Texts --- p.21 / Meta-operas and Meta-productions --- p.23 / CHAPTER TWO: / Orpheus’s Splitting Images: Harry Kupfer’s Production of Orfeo ed Euridice --- p.29 / Orphic Operas: Demonstrations of Music’s Powers --- p.29 / Gluck and Calzabigi’s Ideal Eighteenth-Century Musician --- p.32 / Orpheus’s Changing Images --- p.36 / Harry Kupfer’s Modern Musician --- p.39 / CHAPTER THREE: / “Why Regieoper?“: Katharina Wagner’s Production of Die Meistersinger von Nürnberg --- p.52 / The Wagnerian Legacy: From Richard to Katharina --- p.52 / First Argument: Werktreue vs. Avant-Gardism --- p.56 / Second Argument: Spectatorship and Opera Production --- p.62 / Third Argument: The Arts and Politics --- p.67 / Re-writing Myths with Regieoper --- p.71 / CHAPTER FOUR: / Conclusion --- p.73 / Bibliography --- p.79

Thesis (M. Mus.)--Southern Illinois University at Carbondale. / Vita. Includes bibliographical references (leaves 35-37; discography: leaves 38-40).