Thesis (Ph. D.)--Ohio State University, 2007. / Includes bibliographical references (p. 154-168). Also issued online.

Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005. / A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies. Dissertation, libretto and score of the opera. Bibliography: p. 138-141.

Thesis (M.A.)--Florida State University, 2006. / Advisor: Carrie Sandahl, Florida State University, College of Visual Arts, Theatre, and Dance, School of Theatre. Title and description from dissertation home page (viewed June 9, 2006). Document formatted into pages; contains iv, 103 pages. Includes bibliographical references.

The integrated musical is a vehicle for the creation and communication of a national identity, created through the use of coded performances of gender and, at times, rural settings conceptualized as essentially “American.” There is, however, little research about the ways in which gender operates in rural settings in musical theatre, or the ways in which rural gender identities are utilized to communicate nationalist ideologies. This thesis seeks to address this gap in research by examining three contemporary American musicals – Carrie, Violet, and The Spitfire Grill – in light of both American musical theatre conventions surrounding gender performance and contemporary theory around gender, rurality, and intersectional rural gender identities. This thesis ultimately suggests that an approach to rural gender in musical theatre grounded in a specific physical and cultural moment and location is best equipped to both honor the narratives of rural communities and propagate appropriately complex narratives of national identity.

American musical theater and film composer Harold Arlen is largely overshadowed by his contemporaries, such as George Gershwin, Irving Berlin, and Cole Porter. However, his music serves as a viable alternative for singers of all skill level studying a classical technique. By studying the music of Harold Arlen, singers will utilize a wide range, legato line, negotiations of register, mood shifts, and varying tessituras. The following document considers the importance of Arlen’s music by analyzing eight of his songs from three prominent decades of compositional output. The eight songs examined are grouped by the decade of their composition: the 1930s, 1940s, and 1950s. Each song is evaluated by determining the musical benefits included in each song and also the skill level required of the singer.

American Idiot, the Broadway musical by the band Green Day and theater veteran Michael Mayer, embodies the experience of a generation of Americans. The story revolves around youths coming of age during the presidency of George W. Bush, living through the terrorist attacks of September 11, 2001, two wars, ever increasing media and technology saturation, and a breakdown of the suburban ideal. As the primary theme and the driving force in the dramatic action of American Idiot, the characters’ internal struggle between rage and love is reinforced through several devices present in the music. There are four notable ones. First, allusion to a variety of rock styles and songs highlight themes of disillusionment, alienation, and false hope. Second, the use of recurring musical material draws connections in the storyline, promotes continuity, and creates foreshadowing. Third, the modification of songs from their original versions reinforce dramatic climaxes, and fourth, the use of specific styles to represent characters adds to their depth and significance. In order to provide context for the musical, this thesis will examine some of its antecedents and influences. The three most important of these are the history of Green Day and its members, the position of American Idiot in the rock opera genre, and the transformation of the original 2004 album into the 2010 Broadway musical. Finally, an examination of youth and suburbia in America at the turn of the twenty-first century will demonstrate the connection to themes expressed in the narrative of American Idiot.

In an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating today’s youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students. The thesis will chronicle the development of a script with the intent of producing it in Title I elementary schools located in lower socio-economic areas of Orlando, Florida. The script will be based on Hans Christian Anderson’s fairy tale “The Ugly Duckling.” The final product will be a musical theatre piece to take into the school system to be performed by the students. The body of the thesis will contain my prior experiences of bringing musical theatre to underprivileged youth. The document will also include chapters detailing the process of creating the script and composing the music. Research will determine the socio-economic challenges prevalent in the under-represented cultures in the urban schools of Orlando. Finally, the thesis will contain a section of the actual script and will conclude with a chapter summarizing the reactions to the first reading of the play

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RENT: A Director's Process describes the process a director undergoes in the creation of a piece of theater. It uses as its example Temple Theaters' 2010 production of RENT, and it examines how an MFA thesis production encapsulates the material garnered over three years' intensive study in a conservatory setting of the art and craft of directing. It explores the methodologies behind the pre-production process, including concept, approach, design, and casting, and continues into the production process, including rehearsal and performance. This thesis suggests a method of directing that is based on a formal approach, and shows this method to be as applicable to populist styles, such as musical theater, as it is to more experimental forms. / Theater