The purpose of the study was to examine the musical methods used by Stephen Sondheim to create a sense of internal unity in scores that, because of the nature of musical theater, required diverse styles of composition and often involved extended periods of time between the occurrence of musical selections. This dissertation topic was chosen in an attempt to provide evidence of the utter sophistication with which Sondheim pursues his craft.The perspective taken was that of a conductor analyzing the scores as if in preparation for rehearsing the cast of a production. The assumption was that a more convincing performance would result from the performers' awareness of the devices used to achieve continuity from selection to selection.Findings1. In both scores, Sondheim employs ostinato, counterpoint, syncopation, and hemiola as primary rhythmic material.2. In both scores, Sondheim presents his primary motives at the beginning of the score and uses them exclusively to generate all melodic material in the work.3. Sondheim is consistent in his harmonic language, revealing a decided preference for extended diatonic and chromatically-altered chords. He uses simple, "pure" triadic harmony on relatively few occasions. He often uses his dense harmoric structures to reflect the tension inherent in the dramatic situation.

This dissertation examines the role of speech inflection in the composition of melodies of American musical theatre and investigates how composers approached speech inflection in their work throughout this genre's history. Through analysis of songs and interviews with composers, this dissertation investigates the relevance of speech inflection in the various styles of composition existing on Broadway. The main focus of musical theatre compositions, especially post Rodgers and Hammerstein's musical Oklahoma, is to move the plot along through songs. Therefore, the delivery of the text must be of ultimate consideration in the writing of modern musicals. A well-written speech-melody facilitates the process of a speech-melody-interpretation, which will result in the delivery of lyrics with an understandable, natural sounding quality. This investigation happens through a chronologic evaluation of the relevance of speech inflection during each of the distinct phases on Broadway, as well as an examination of the approach to writing with a speech-melody focus of each individual composer throughout history. This study explores the importance of speech inflection in American musical theatre songwriting focusing on a speech-melody approach to composition. / by Ana Flavia Zuim. / Vita. / Thesis (Ph.D.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.