Don Giovanni / Wolfgang Amadeus Mozart. / text

Madama Butterfly / Giacomo Puccini. / text

Cradle Song / Daren Hagen. / text

Ariadne auf Naxos / Richard Strauss -- Das Lied von der Erde / Gustav Mahler. / text

No description available.

Isang Yun (1917-1995) is one of the most important composers in Korean history. Even though Yun is a South Korean-born composer, most of his music was composed in Germany and has been largely performed and studied in Europe, Japan, and even North Korea. His music is unfamiliar to South Korean audiences because of the political issues surrounding the East Berlin Spy Incident (1967). Isang Yun composed a massive amount of music employing his unique compositional methods, such as the Korean traditional zither technique, Nonghyun, which is very similar to the vocal technique, Sigimsae. Also Yun created a Main-Tone Technique that was influenced by Korean court music and utilized more practically for his orchestra pieces as a Main-Sound Technique. Based on Taoist philosophy, Yun employed yin and yang concepts in his compositions and formulated his music with balance. All of his techniques and styles of music were designed by employing Eastern musical language and European compositional techniques. In this thesis, I will introduce the concepts and compositional techniques of Isang Yun. Also, by analyzing how he translated Eastern musical concepts into Western musical techniques in his opera, Die Witwe des Schmetterlings (The Butterfly Widow), I will attempt to demonstrate Yun's unique compositional style which resulted from a blending of Eastern and Western musical elements. In this opera, we have a unique example of how he successfully employed his own Korean musical values and techniques within the context of Western practice. Yun rediscovered the value of his own Eastern compositional techniques and then shared his music with Western audiences.

The thesis for the Doctor of Musical Arts degree in Composition consists of an original musical work, accompanied by an analytical document. “The Piano Teacher” is a chamber opera in one act, based on a libretto by the composer, adapted from the fantastic tale “With the Gypsy Girls” by Mircea Eliade. With a duration of approximately fifty minutes, the work calls for four singers (tenor, soprano, bass-baritone, mezzo-soprano) and fifteen instrumental parts (flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, percussion, piano, harp, two violins, viola, cello, contrabass). The aim was not only to set to music a symbolic story, but also to adopt a personal approach to the operatic genre. This approach proposes a less explicit plot, as well as minimal stage design. In adapting the story, the central character of the teacher receives an extensive music-dramaturgical role, while the other characters are assigned relatively equal supporting roles. The opera comprises a prelude and twelve short scenes, most of which unfold uninterruptedly. A thorough discussion of the nature, influences, and vocabulary of the opera accompanies the musical score. The analytical document concentrates on particular musical ideas, as well as on several cyclical elements, providing detailed exemplification to illustrate their use. Both the score and the analysis suggest possible approaches to the stage production of the opera.

El material ofrece información sobre el departamento de Recepción dentro de la estructura organizacional de la empresa hotelera. También hace referencia a las cualidades que debe reunir el personal de esta área y la adecuada atención de los huéspedes cualquiera sea la situación en la que estos se encuentren, así como los procedimientos de la sección Caja y su importancia dentro del proceso de salida del pasajero.

El material brinda información sobre la organización, las funciones y los procedimientos del departamento de Recepción y las áreas que la complementan.

Open and Shut Fiona M. Ryan Doctor of Musical Arts Graduate Department of Music University of Toronto 2013 Abstract “Open and Shut” is a short opera in two scenes composed with concert opera performances in mind; it could be performed with or without staging. There are five characters in this work. The protagonist is Bridget (Soprano). In the first scene Bridget encounters Martha (Soprano) and Rose (Mezzo Soprano), two fundamentalist Christians who are handing out religious pamphlets on the street. In the second scene Bridget meets her friends Frank (Tenor) and Paul (Baritone) in a café and tells them of her encounter with these two women (Martha and Rose); a heated discussion of religion ensues. Each character is represented by a distinctive style of music that fits with their personality and ideology. Martha's music and singing style is inspired by Baroque and Classical sacred music (well suited to a coloratura voice) to represent her traditional and authoritarian viewpoint: the instrumentation for her music is similar to a Baroque orchestra (strings, oboe, bassoon, and sometimes brass). Rose's music is inspired by traditional folk hymns and spirituals to represent both her traditional ideals and her earnest simplicity: her vocal lines feature repetition and gospel-inspired inflections, she is accompanied by textures featuring piano, bass, and flute. Frank is an opinionated, cynical atheist whose music is atonal (flexibly based on 12 tone procedures) and is filled with harsher chords and jagged melodies to represent his modern but rigid view; his vocal lines are often paired with cello. Paul is a hippie who supports people exploring spirituality, but is opposed to institutions; Paul's music is based on use of non-traditional modes and aleatoric principles with an emphasis on the interaction of percussion and voice. Bridget is caught between all of these worlds so her music is an intuitively composed fusion of tonal, modal, and atonal styles; Bridget's individuality is represented by a recognizable melodic theme (introduced at measure 41 and repeated throughout the piece by alto flute, viola, clarinet, and piano). Additionally, each scene starts with music inspired by the sounds of a city.