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abstract: This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres. The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time. / Dissertation/Thesis / Doctoral Dissertation Music 2019

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Thesis (D.Min.)--South Florida Center for Theological Studies, 1998. / Includes bibliographical references.

Par les sentiments qu’elle a suscités, les discours ou les images qu’elle a générés, la baïonnette offre à l’historien une entrée intéressante pour étudier les imaginaires à l’épreuve de la Première Guerre mondiale. Elle permet de s’interroger, par-delà la diversité des supports, sur les modèles dominants et leur remise en cause, avant et pendant la guerre. Pourquoi l’assaut et le combat « à la baïonnette », topoi de la représentation du combat avant 1914, tiennent une place prépondérante dans le discours de guerre qui se met en place dès les premières semaines ? Ancré dans des pratiques bien établies avant 1914, favorisé par le contexte spécifique des entrées en guerre, l’engouement pour la baïonnette se heurte cependant à la violence des affrontements qui ne lui laisse qu’une place très marginale. Les autorités militaires et les principaux producteurs de biens culturels se détournent au fil des mois des ressorts héroïques du début de la guerre pour amorcer, selon une chronologie propre à chaque acteur, un tournant discursif vers davantage de sobriété et de réalisme. La baïonnette témoigne donc de l’évolution du discours dominant. Cette arme invite également à travailler sur la réception par les contemporains de cet imaginaire, avant et pendant la guerre. Si la plupart des mobilisés étaient imprégnés de représentations conventionnelles du combat avant 1914, la réalité des assauts se révèle nettement plus éprouvante. Le positionnement des combattants face à cet imaginaire est complexe, oscillant entre colère, résignation et appropriation plus ou moins consciente, plus ou moins affichée, d’une représentation de la guerre erronée, certes, mais incontestablement puissante. / Through the feelings it aroused, the speeches or pictures it created, the fixed bayonet gives an opportunity for the historian to study the ideals underpinning the Great War. Media portrayals of the bayonet as a field weapon changed during the war. The effectiveness of the bayonet as a weapon of war challenged prevailing official attitudes both before and during it. In the early stages of the conflict, it was a cliché and yet true, that battles using fixed bayonets played a prominent role in war speeches. As a typical cliché of warfare before 1914, it was rooted as a well-established practice. However, the fixed bayonet model did not match the requirements of the more violent clashes of the new conflict. As time progressed, military officials and all branches of the media started turning their back on what was considered as heroism at the beginning of WWI. Over a period of time the different media started delivering information that was more sober and realistic. The way fixed bayonets were portrayed reflects the evolution in mainstream official speeches. A focus on the weapon also provides an opportunity to take into account how contemporaries dealt with the varying representations before and during the war. Whilst most soldiers were influenced by common preconceptions about fighting at the front pre-1914, the down-to-earth reality proved much more demanding. Soldiers’ reactions towards official war representations were complex, ranging from anger to resignation. With assumptions that were more or less conscious, more or less expressed, soldiers began to consider the realities of war and consequently saw the representations as being false and yet undeniably powerful.

Cinematography in the Czech lands went through a dynamic development during first decades of the 20th century. Original nomadic theatres and vaudevilles were replaced by permanent cinemas. The first one of this kind in the Czech lands was opened in 1907 in Brno. Movies became soon one of the most common way of spending free time as it was obtainable to all sorts of public. The biggest amount of movie theatres were obviously located in bigger aglomerations, the highest level of cinemas in Czech lands were concentrated in Prague. Here, in the center of the Czech capital, had also started a new trend of building a big screening halls, for a first time originaly projected only for a cinema purpose. These venues, builded in the 20's of 20th century as a part of commercial and financial palaces, were unique for reason to be premiere cinemas. Owners of majority of these special cinemas got together into a special ellite club called The association of the premiere cinemas. In the first part of this Thesis is will be described a social-culture context of the defined time period, with focus on a life of society in big aglomerations, together with coherencies of the community life and cinematography in the Czech lands. The second part describes work of the Association of the premiere cinematographs - the...

Cette étude traitera de l'impact de la révolution russe en mouvement ouvrier de Rio Grande do Sul. La révolution russa a été un des plus importants processus historiques du siècle XX, en étant la première révolution ouvrière qui a survécu pour un long temps et est parvenue à élever des instituiciones durables. Pendant les premières années de la révolution russe dans le Rio Grande do Sul on vivait un moment de grand agitation entre les travailleurs avec la déflagration de grèves, la creatión de nouveaux syndicats et le surgissement de periodiques de classe. Dans ce contexte apparaissent les premières associations qui sont identifiées avec les idées de révolutionne russe, aussi apparaissent déclarations d'appui à la revolution et desir de suivre le chemin de la Russie des Soviets entre les militants ouvriers . Par cette réception et la période de mobilisation, je crée être nécessaire d'étudier comme la révolution russe a influencé les idées et les manières d'action du movimento ouvrier durant ces années, considérant l'idéologie des militants, ses origines éthniques et culturelles, leurs formes d'association et de combattre contre l'état et la bourgeoisie. / Esta dissertação tratará do impacto da revolução russa no movimento operário do Rio Grande do Sul entre 1917 e 1920. A revolução russa foi um dos processos históricos mais importantes do século XX, sendo a primeira revolução operária que sobreviveu por um longo tempo e conseguiu criar instituições duradouras. Durante os primeiros anos da revolução russa no Rio Grande do Sul se vivia um momento de grande agitação entre os trabalhadores, com a deflagração de greves, a criação de novos sindicatos e o surgimento de muitos jornais de classe. Neste contexto, aparecem as primeiras associações de trabalhadores que se diziam identificados com as idéias da revolução russa, também surgem declarações de apoio à revolução e desejo de seguir o caminho da Rússia dos Soviets entre os militantes operários. Por esta recepção e o período de mobilização, acredito ser necessário estudar como a revolução russa influenciou as idéias e as formas de ação do movimento operário do Rio Grande do Sul, considerando a ideologia dos militantes, suas origens étnicas e culturais, suas formas de associação e de luta contra o estado e a burguesia.

Cette étude traitera de l'impact de la révolution russe en mouvement ouvrier de Rio Grande do Sul. La révolution russa a été un des plus importants processus historiques du siècle XX, en étant la première révolution ouvrière qui a survécu pour un long temps et est parvenue à élever des instituiciones durables. Pendant les premières années de la révolution russe dans le Rio Grande do Sul on vivait un moment de grand agitation entre les travailleurs avec la déflagration de grèves, la creatión de nouveaux syndicats et le surgissement de periodiques de classe. Dans ce contexte apparaissent les premières associations qui sont identifiées avec les idées de révolutionne russe, aussi apparaissent déclarations d'appui à la revolution et desir de suivre le chemin de la Russie des Soviets entre les militants ouvriers . Par cette réception et la période de mobilisation, je crée être nécessaire d'étudier comme la révolution russe a influencé les idées et les manières d'action du movimento ouvrier durant ces années, considérant l'idéologie des militants, ses origines éthniques et culturelles, leurs formes d'association et de combattre contre l'état et la bourgeoisie. / Esta dissertação tratará do impacto da revolução russa no movimento operário do Rio Grande do Sul entre 1917 e 1920. A revolução russa foi um dos processos históricos mais importantes do século XX, sendo a primeira revolução operária que sobreviveu por um longo tempo e conseguiu criar instituições duradouras. Durante os primeiros anos da revolução russa no Rio Grande do Sul se vivia um momento de grande agitação entre os trabalhadores, com a deflagração de greves, a criação de novos sindicatos e o surgimento de muitos jornais de classe. Neste contexto, aparecem as primeiras associações de trabalhadores que se diziam identificados com as idéias da revolução russa, também surgem declarações de apoio à revolução e desejo de seguir o caminho da Rússia dos Soviets entre os militantes operários. Por esta recepção e o período de mobilização, acredito ser necessário estudar como a revolução russa influenciou as idéias e as formas de ação do movimento operário do Rio Grande do Sul, considerando a ideologia dos militantes, suas origens étnicas e culturais, suas formas de associação e de luta contra o estado e a burguesia.

Cette étude traitera de l'impact de la révolution russe en mouvement ouvrier de Rio Grande do Sul. La révolution russa a été un des plus importants processus historiques du siècle XX, en étant la première révolution ouvrière qui a survécu pour un long temps et est parvenue à élever des instituiciones durables. Pendant les premières années de la révolution russe dans le Rio Grande do Sul on vivait un moment de grand agitation entre les travailleurs avec la déflagration de grèves, la creatión de nouveaux syndicats et le surgissement de periodiques de classe. Dans ce contexte apparaissent les premières associations qui sont identifiées avec les idées de révolutionne russe, aussi apparaissent déclarations d'appui à la revolution et desir de suivre le chemin de la Russie des Soviets entre les militants ouvriers . Par cette réception et la période de mobilisation, je crée être nécessaire d'étudier comme la révolution russe a influencé les idées et les manières d'action du movimento ouvrier durant ces années, considérant l'idéologie des militants, ses origines éthniques et culturelles, leurs formes d'association et de combattre contre l'état et la bourgeoisie. / Esta dissertação tratará do impacto da revolução russa no movimento operário do Rio Grande do Sul entre 1917 e 1920. A revolução russa foi um dos processos históricos mais importantes do século XX, sendo a primeira revolução operária que sobreviveu por um longo tempo e conseguiu criar instituições duradouras. Durante os primeiros anos da revolução russa no Rio Grande do Sul se vivia um momento de grande agitação entre os trabalhadores, com a deflagração de greves, a criação de novos sindicatos e o surgimento de muitos jornais de classe. Neste contexto, aparecem as primeiras associações de trabalhadores que se diziam identificados com as idéias da revolução russa, também surgem declarações de apoio à revolução e desejo de seguir o caminho da Rússia dos Soviets entre os militantes operários. Por esta recepção e o período de mobilização, acredito ser necessário estudar como a revolução russa influenciou as idéias e as formas de ação do movimento operário do Rio Grande do Sul, considerando a ideologia dos militantes, suas origens étnicas e culturais, suas formas de associação e de luta contra o estado e a burguesia.

U.S. Theatre is often noted for its commitment to new play development. Since Eugene O’Neill, America has fostered a tradition of celebrating emerging playwrights and their bold, edgy new works through countless development programs such as festivals, new play readings, grant programs, workshops, and world premieres. Although in recent years new-play development has seen a steady decline in funding (Levitow 2), it remains a cornerstone of American identity and an essential medium for pushing boundaries in theatre, both culturally and artistically. New-play development is indispensable for keeping theatre relevant in our everchanging culture. For my thesis, I explore the process of developing a new play from an actor’s perspective. The role of the director, dramaturg and producer of a new play is often discussed; however the importance of the actor throughout the development process is sometimes overlooked. There are many configurations of artistic teams assembled to develop a new play; therefore, I do not suggest there is one type of team that is best or one type of role for the actor to play within the team. My aim was to collaborate with the playwright, director and fellow actors to discover what is required of an actor in all phases of new play development. I applied the principles learned to my own work in the World Premiere of The Exit Interview by William Missouri Downs at the Orlando Shakespeare Theatre in Partnership with The University of Central Florida. As I navigated my way through the artistic process of developing a new work, I discovered some ‘best practices’, which I employed throughout the rehearsal and performance iii process to further my own skills. I will discuss the development process I experienced, as objectively as possible, outlining the key best practices for an actor working in a collaborative team to develop a new play.