The initial intent in regard to the story line for this work was to utilize an authentic Hispanic-Southwestern folk tale. It was found, however, that the predominance of recorded folk tales was lacking in sufficient plot involvement. It was decided therefore, that a plot would be constructed by the composer using Hispanic folk material. Elements of recorded folk tales are used in the story to maintain the folk-like quality. Some of these elements are a mutual respect among family members, an acceptance of superstitious ideas, a dependence upon a person claiming supernatural powers, the embodiment of the devil in a person or animal, and the punishment of the wayward girl by the devil.

The composition is in seven major sections with a coda at the end. The work requires approximately fifteen minutes for performance. The discussion and analysis includes a description of the play and an explanation of the treatment of the elements of music. The work requires the following instrumentation: two flutes, two piccolos, two alto flutes, two oboes, two English horns, one bassoon, one contra-bassoon, one French horn, one trumpet, one flugelhorn, one melodion, one piano, one vibraphone, one xylophone, three timpani, mixed percussion, one solo soprano, two solo tenors, one solo bass, a choir of three women and two men, violin, and cello.

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論文(哲學碩士)--香港中文大學硏究院音樂學部,1994. / 參考文獻: leaves 126-129 / 劉艾文. / 鳴謝 --- p.1 / 引言 --- p.2 / Chapter 第一章 --- 粤曲槪述 / Chapter 1.1 --- 粤曲的歷史 --- p.4 / Chapter 1.2 --- 粤曲的音樂 --- p.11 / Chapter 1.3 --- 粤曲的唱詞體栽形式 --- p.19 / Chapter 第二章 --- 硏究方法 / Chapter 2.1 --- 以往的硏究 --- p.23 / Chapter 2.2 --- 硏究方法 --- p.26 / Chapter 2.3 --- 硏究樣本的挑選 --- p.29 / Chapter 第三章 --- 香港近代的粤曲敎學活動 / Chapter 3.1 --- 十八個粤曲硏習班簡述 --- p.31 / Chapter 3.2 --- 粤曲敎學硏究問卷統計 --- p.70 / Chapter 3.3 --- 問卷統計結果之分析 --- p.73 / Chapter 3.4 --- 三十至八十年代香港粤曲敎學方法 --- p.87 / Chapter 3.5 --- 粤曲敎師敎學心得及課程編排 --- p.90 / Chapter 3.6 --- 粤曲敎學面對的問題 --- p.98 / Chapter 第四章 --- 總結 / Chapter 4.1 --- 粤曲敎學法綜述 --- p.102 / Chapter 4.2 --- 結論 --- p.108 / 附錄 一.本論文所討論之粤曲班地址表 --- p.110 / Chapter 二. --- 粤曲老師個人資料：1.陳徽韓 --- p.111 / Chapter 2. --- 廖漢和 --- p.113 / Chapter 3. --- 黃德正 --- p.114 / Chapter 4. --- 勞韻妍 --- p.115 / Chapter 5. --- 雷桂開 --- p.116 / Chapter 6. --- 葉慧芬 --- p.117 / Chapter 三. --- 用於訪問學生之問卷 --- p.118 / Chapter 四. --- 用於訪問老師之問卷 --- p.122 / 參考資料 --- p.126

Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, generally functioning as a background element, while twentieth-century compositional techniques are utilized primarily for special effects.

This dissertation explores the ways in which Handel's late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works--from the lighter subject matter of the libretti to Handel's unconventional musical settings--can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, opera reception in eighteenth-century London was much more complex, sometimes even contradictory: avid operagoers were often generous patrons of operatic burlesque, and considered ridicule, disruption, and laughter an integral part of their operagoing experience. By tracing the points of contact between Italian opera and British theatrical life, this dissertation examines the ways in which the "comedies" of opera seria, both as historical phenomena and as potentially fruitful sites for theoretical investigation, offer a new picture of the eighteenth-century dramma per musica.

Thesis (M.A.)--Boston University / Horatio William Parker (1863-1919) was a prominent American composer who belonged to the Second New England School (the "Boston Six"), and served as the Dean of Music at Yale University from 1904 until his death. His opera Mona (Opus 71) was created in collaboration with his librettist, Brian Hooker (1880-1946), as an entry to a contest that was being held by the Metropolitan Opera Company for the best English-language opera written by an American-born composer. Parker and Hooker won the contest, and received $10,000 in prize money along with a production of Mona at the Met. The contest generated a considerable amount of interest in the American musical community, and sparked debate concerning the characteristics that should epitomize "American" opera. After difficult rehearsals and extensive revisions, Mona premiered on March 14'h, 1912. Despite its lavish production, the opera was met with a lukewarm reception by the American public, and failed to make its way into the permanent repertory of the Met. Willie American opera of this era was commonly criticized for being simple and frivolous, Mona is notable for being a serious opera of considerable complexity that was ultimately rejected by the American public. The opera is also significant in that it seems to mark a turning point in Parker's biography, after which he placed greater emphasis on the popular appeal of his compositions.

Thesis (Ph. D.)--UCLA, 2006. / Vita. Includes bibliographical references (leaves 268-298).

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