Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A. Adviser: Katherine Syer. Includes bibliographical references (leaves 240-255) Available on microfilm from Pro Quest Information and Learning.

No description available.

This thesis is an analysis and exploration of the feminist themes present in select chamber music theater works by William Osborne for trombonist Abbie Conant. Before analyzing Osborne's compositions, the author provides crucial background information about the lives and experiences of husband and wife and artistic collaborators William Osborne and Abbie Conant. Specifically, the author addresses the sexism that Conant experienced as a trombonist in the Munich Philharmonic. Osborne composed a new genre of works for Conant to perform as an artistic response to the pain both he and Conant experienced during the thirteen year legal battle with the state of Munich and their desire to create fully integrated musical theater works. The author traces the evolution of Osborne and Conant's collaboration by examining three works within the genre of chamber music theater: Winnie--Osborne's adaptation of Samuel Beckett's Happy Days; Miriam: The Chair--Osborne's first completely original work; and Street Scene for the Last Mad Soprano. Through personal interviews with Osborne and Conant, the author became aware of Osborne and Conant's influences from Samuel Beckett as well as the formal structure that Osborne uses in his works, and she traces this structure in each work as a method for understanding and organizing the musical and dramatic events. Since Osborne's chamber music theater works require the performer to play a musical instrument, act, and sing, the author employs balanced musicological, dramaturgical, and theoretical analytical approaches when studying each piece. After addressing the formal and compositional devices that Osborne utilizes in each piece, the author focuses her analysis on the feminist themes that are found in the latter two works: Miriam: The Chair and Street Scene for the Last Mad Soprano, for these two works were written as a direct response to the discrimination that Conant experienced in the Munich Philharmonic. The author provides the transcript from her interview with Osborne and Conant as an appendix to the document.

Within the last twenty years there have been a growing number of prospective students interested in pursuing musical theater (MT) training in colleges and universities throughout the United States. To meet this demand, the number of schools offering baccalaureate MT degrees has also grown. However, information on how to assess the music and singing training of undergraduate MT programs is not easily accessible to prospective undergraduate students. This is likely due to the fact that colleges and universities have only begun offering degrees in MT since 1970. Research-based information in this area is primarily found in peer-reviewed journals or by attending workshops presented by a few pedagogues specializing in MT vocal methods and techniques. The purpose of this essay is to develop criteria for assessing the singing and music training in MT baccalaureate degree programs that would be useful for prospective MT students, based on the current literature.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1587. Adviser: David G. Goodman. Includes supplementary digital materials. Includes bibliographical references (leaves 287-300) Available on microfilm from Pro Quest Information and Learning.

No description available.

M. Tech. Drama / Sources on musical theatre training by experts Rocco Dal Vera, Joe Deer, Tracy Moore and Allison Bergman, give the impression that there is a lacuna in training when teaching acting skills for singing in musical theatre. This dissertation, in an attempt to fill this lacuna, constructs a strategy of engagement by using cognitive science, together with Stanislavsky's acting techniques and music theory to explain the process from text/sheet music (the 'digital' domain) to performance (the 'analogue' domain). In this dissertation the 'digital' is seen as a metaphor for bounded, specific and singular phenomena (such as a written word or music note), and the 'analogue' is seen as a metaphor for a continuous, undulating and unbroken line of an event. The aim of this dissertation was achieved by conducting a critical literature study on the subjects of second generation cognitive science, Stanislavsky's acting techniques, and music theory and analysis.

A presente pesquisa se propõe a investigar as características fundamentais da música-teatro de Gilberto Mendes. O trabalho divide-se em três partes. No primeiro capítulo, apresentamos uma ampla revisão bibliográfica sobre o desenvolvimento do gênero música-teatro, buscando sua raiz desde a ideia de Gesamtkunstwerk de Wagner, passando pelas experiências das primeiras décadas do século XX, até seu estabelecimento de fato como uma prática, nos anos 60. Também procuramos promover um diálogo entre a obra de Gilberto Mendes e as pesquisas contemporâneas sobre música-teatro, especialmente com Salzman & Dési (2008) e Roesner & Rebstock (2012), a fim de inserir o compositor dentro da discussão internacional sobre o gênero. No segundo capítulo, investigamos minuciosamente os principais traços constituintes da linguagem composicional de música-teatro do compositor, visando identificar seus processos mais recorrentes e idiomáticos. Por fim, no terceiro capítulo analisamos quatro obras de Gilberto Mendes: Cidade (1964), Son et Lumière (1968), O Último Tango em Vila Parisi (1987) e Escorbuto - Cantos da Costa (2006). Para desenvolver as análises, adaptamos a teoria de multimídia musical de Nicholas Cook (1998), de modo que pudéssemos identificar os tipos de relações e soluções operados por Gilberto Mendes na composição com elementos artísticos de origens diversas. Consideramos que esta pesquisa contribuirá para as pesquisas sobre a música-teatro produzida fora dos grandes centros europeus, além de aumentar o escopo de estudos sobre o gênero no Brasil e, especialmente, sobre a produção de Gilberto Mendes. / This current research aims at investigating the fundamental characteristics of Gilberto Mendes\'s music theater. This work is divided into three parts. In the first chapter, we present a broad bibliographical review about the development of music theater genre, seeking its root from Wagner\'s idea of Gesamtkunstwerk, going from the experiences of the first decades of the twentieth century to its actual establishment as a practice, in the 60s. We also seek to promote a dialogue between Gilberto Mendes\'s works and contemporary researches on music theater, especially Salzman & Dési (2008) and Roesner & Rebstock (2012), in order to insert the composer into the international discussion about the genre. In the second chapter, we scrutinize the main constituent features of the composer\'s compositional language of music theater, in order to identify its most recurrent and idiomatic processes. Finally, in the third chapter we analyze four Gilberto Mendes\'s works: Cidade (1964), Son et Lumière (1968), O Último Tango em Vila Parisi (1987) and Escorbuto - Cantos da Costa (2006). In order to develop the analyses, we adapted Nicholas Cook\'s musical multimedia theory (1998), so that we could identify types of relations and solutions operated by Gilberto Mendes in the composition with artistic elements from diverse origins. We consider that this research will contribute with music theater researches done outside major European centers, in addition to increasing the scope of studies about this genre in Brazil and, especially, about Gilberto Mendes\'s production.

Submitted by PAULO ROGERIO ZORZETTO HYPOLITHO null (paulozorzetto@gmail.com) on 2016-11-06T19:59:27Z No. of bitstreams: 1 dissertação de mestrado Paulo Zorzetto 2016.pdf: 7471098 bytes, checksum: 09d11ae1d701810ce164a7fb18725499 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO null (luizaromanetto@hotmail.com) on 2016-11-10T13:56:32Z (GMT) No. of bitstreams: 1 zorzetto_p_me_ia.pdf: 7462080 bytes, checksum: e9ca8bc71dc1a78ff96f76fe1320147b (MD5) / Made available in DSpace on 2016-11-10T13:56:32Z (GMT). No. of bitstreams: 1 zorzetto_p_me_ia.pdf: 7462080 bytes, checksum: e9ca8bc71dc1a78ff96f76fe1320147b (MD5) Previous issue date: 2016-06-30 / Esta pesquisa tem como objetivo geral propor um Modelo Vocal para Percussionistas (MVP), na execução de obras solo em que o uso da voz é requerido, explorando elementos físicos e musicais que fazem parte das práticas diárias do estudante e do profissional da percussão. Para tanto, foram escolhidas três importantes peças do repertório percussivo para a aplicação dos conceitos propostos: ?Corporel, para um percussionista e sons do seu corpo (1985), de Vinko Globokar (1934); To the Earth (1985), de Frederic Rzewski (1938); e URSONATE (1922 - 1932), de Kurt Schwitters (1887 - 1948). Por possuírem características distintas, quanto ao uso da voz, cada uma delas possibilita o entendimento do MVP, como um paradigma teórico amplo o suficiente, para resolver problemas técnicos e interpretativos diversos, a partir da compreensão do contexto em que estão inseridas: a Música-Teatro. Sob as considerações da pesquisadora Claudia Hansen, e do professor Wladimir Mattos, foram estipuladas as bases deste gênero musical, bem como os perfis do percussionista e da percussão que o representam, além daquilo que deve ser levado em conta como sendo a voz e a fala. A partir de três pilares teórico-práticos - a fonoarticulação, a coarticulação e a realização prosódica - as obras escolhidas foram analisadas e preparadas para a performance, levando-se em conta as discussões ocorridas no âmbito da fonética e da fonologia, e as soluções encontradas foram esquematizadas por meio de tabelas, visando a facilitar a compreensão do MVP. Desta forma, esperamos que a proposta do presente trabalho auxilie futuras pesquisas, interpretações e discussões inseridas no universo percussão e voz, acentuando as cores desta tão tênue e simbiótica linha que perpassa os ambientes musical e teatral. / This research aims to propose a Vocal Method for Percussionists (VMP) for playing solo pieces where using the voice is required. The physical and musical elements that are part of the percussionist's daily practice were analyzed. In order to achieve that, three major, well established, percussion pieces were drafted regarding the application of the proposed methods: ?Corporel, for one percussionist using her/his body (1985), by Vinko Globokar (1934); To the Earth (1985), by Frederic Rzewski (1938); and URSONATE (1922 - 1932), by Kurt Schwitters (1887 - 1948). Despite their differences regarding how the voice is used, each one of them enables the reader to assimilate the VMP, as a theoretical paradigm broad enough to figure out a wide range of interpretative and technical issues, fully understanding the context in which they belong: the music-theater. Under Claudia Hansen's and professor Wlad Matos' research analysis, we established the basis of this music genre, as well as the percussionist's and percussion characteristics that define them, and what should be considered as voice and speech. Starting off from three practical-theoretical pillars - articulation of speech, articulatory gesture and the prosodic conduction - the selected pieces were thoroughly analysed, looking for any issues regarding the use of the voice and singling out schematic solutions that would emerge. Thus, we hope that our work may assist future research, interpretation and discussion regarding percussion and voice. Taking into consideration the very gentle and symbiotic confluence within the musical and theatrical environments.

A presente pesquisa se propõe a investigar as características fundamentais da música-teatro de Gilberto Mendes. O trabalho divide-se em três partes. No primeiro capítulo, apresentamos uma ampla revisão bibliográfica sobre o desenvolvimento do gênero música-teatro, buscando sua raiz desde a ideia de Gesamtkunstwerk de Wagner, passando pelas experiências das primeiras décadas do século XX, até seu estabelecimento de fato como uma prática, nos anos 60. Também procuramos promover um diálogo entre a obra de Gilberto Mendes e as pesquisas contemporâneas sobre música-teatro, especialmente com Salzman & Dési (2008) e Roesner & Rebstock (2012), a fim de inserir o compositor dentro da discussão internacional sobre o gênero. No segundo capítulo, investigamos minuciosamente os principais traços constituintes da linguagem composicional de música-teatro do compositor, visando identificar seus processos mais recorrentes e idiomáticos. Por fim, no terceiro capítulo analisamos quatro obras de Gilberto Mendes: Cidade (1964), Son et Lumière (1968), O Último Tango em Vila Parisi (1987) e Escorbuto - Cantos da Costa (2006). Para desenvolver as análises, adaptamos a teoria de multimídia musical de Nicholas Cook (1998), de modo que pudéssemos identificar os tipos de relações e soluções operados por Gilberto Mendes na composição com elementos artísticos de origens diversas. Consideramos que esta pesquisa contribuirá para as pesquisas sobre a música-teatro produzida fora dos grandes centros europeus, além de aumentar o escopo de estudos sobre o gênero no Brasil e, especialmente, sobre a produção de Gilberto Mendes. / This current research aims at investigating the fundamental characteristics of Gilberto Mendes\'s music theater. This work is divided into three parts. In the first chapter, we present a broad bibliographical review about the development of music theater genre, seeking its root from Wagner\'s idea of Gesamtkunstwerk, going from the experiences of the first decades of the twentieth century to its actual establishment as a practice, in the 60s. We also seek to promote a dialogue between Gilberto Mendes\'s works and contemporary researches on music theater, especially Salzman & Dési (2008) and Roesner & Rebstock (2012), in order to insert the composer into the international discussion about the genre. In the second chapter, we scrutinize the main constituent features of the composer\'s compositional language of music theater, in order to identify its most recurrent and idiomatic processes. Finally, in the third chapter we analyze four Gilberto Mendes\'s works: Cidade (1964), Son et Lumière (1968), O Último Tango em Vila Parisi (1987) and Escorbuto - Cantos da Costa (2006). In order to develop the analyses, we adapted Nicholas Cook\'s musical multimedia theory (1998), so that we could identify types of relations and solutions operated by Gilberto Mendes in the composition with artistic elements from diverse origins. We consider that this research will contribute with music theater researches done outside major European centers, in addition to increasing the scope of studies about this genre in Brazil and, especially, about Gilberto Mendes\'s production.