Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This theater piece is based on a story by John Updike. It is scored for baritone soloist, chorus, real-time electronic sounds, and a small orchestra (woodwinds 1111, brass 2121, 2 percussionists, organ, handbells, strings 33221). The work also includes actors, dancers, video projections, 35mm slide projections, and special lighting effects. The story opens with the moving of fourteen-year old David and his family is to live on the farm formerly owned by David's maternal grandfather. David becomes disturbed when he reads H.G. Wells account of the life of Jesus Christ, He reacts to this account because it is contradictory in spirit to what he has been taught at church and at home. The story deals primarily with David's attempts to reconcile these conflicts in his mind.

Thesis (Ph. D.)--University of California, San Diego, 1985. / Vita. Includes bibliographical references (leaves 233-261).

Thesis (Ph. D.)--State University of New York at Buffalo, 1994. / Includes bibliographical references (leaves 578-607).

<p> I. Solo Recital: Friday, April 11, 2013, 7:30 p.m., Taylor Theatre. <i> Cendrillon</i> (Jules Massanet) Opera Role. </p><p> II. Solo Recital: Saturday, February 8, 2014, 7:30 p.m., Recital Hall. "Warum betr&uuml;bst du dich," "Wilst du dein Herz mir schenken" (Johann Sebastian Bach); Bachianas Brasileiras No. 5 (Hector Villa-Lobos); "Kennst du das Land" (Hugo Wolf); "Kennst du das Land" (John Duke); "Nur wer die Sehnsucht kennt" (Robert Schumann); "Net tolko tot kto znal;" (Pyotr Ilyich Tchaikovsky); "Aime-moi" (Pauline Viardot); "Vaga Luna" (Vincenzo Bellini); "Aragonese" (Gioacchino Rossini); "Befreit," "Ruhe Meine Seele," "St&auml;ndchen," "Amor" (Richard Strauss). </p><p> III. Solo Recital: Thursday, March 5, 2015, 7:30pm., Recital Hall. "Youkali," "J'attends un navire," "Wie lange noch?," "Come up from the Fields, Father" (Kurt Weill); "Tom Sails Away" (Charles Ives); "Le disparu," "Bleuet," "C," "F&ecirc;tes galantes" (Francis Poulenc); Ariettes Oubli&eacute;es (Claude Debussy); Cabaret Songs (Benjamin Britten); "Waldseligkeit," "Selige Nacht," "Hat dich die Liebe ber&uuml;hrt" (Joseph Marx). </p><p> IV. D.M.A. Research Project. CROSSING OVER: EXAMINING THE CHALLENGES OF A CLASSICALLY TRAINED FEMALE PERFORMING MUSIC THEATER REPERTOIRE. This document explores the pedagogy of a classically trained singer as well as that of a music theater performer exploring similarities and differences. Musical examples are referenced throughout. A discussion of style of the megamusical and the 21st century musical provides context. A final chapter on repertoire suitable for bridging the styles provides a reference for the teacher and singer.</p>

Based on a story by Joshua Forehand with additional lyrics by Joshua Bradford, Clockwork Plums is an original musical work that integrates techniques and ideas from composers and different cultures. The accompanying essay about the work includes a summary of the story, "Clockwork Plums," some historical background covering 30 years of pop music, an analysis focusing on the use of African and Reichian compositional devices, and discussion about controlled improvisation and use of the voice as compositional tools. The music consists of three sections scored for 5 voices (lead male vocalist and SATB), flute (doubling tenor saxophone), Bb clarinet (doubling baritone saxophone), violin, cello, piano, electronic keyboard, electric guitar, electric bass, drum set, and percussion.

Este estudo elucida princípios e procedimentos que orientam a atuação de Jean-Jacques Lemêtre enquanto compositor no Théâtre Du Soleil. Apresenta depoimentos exclusivos do músico, de pesquisadores, funcionários e atores da trupe. Além disso, identifica os saberes e mecanismos por trás das atividades praticadas nos estágios que conduz, os jogos músico-teatrais, e as organiza em um fichário, que foi utilizado na verificação quanto a possibilidade e eficácia do emprego destes jogos em dinâmicas conduzidas por artistas e pedagogos, em um ambiente externo ao da companhia. / This study enlightens principles and guiding procedures of Jean-Jacques Lemêtre\'s performance as a composer at the Théâtre Du Soleil. It presents exclusive testimonies from the musician, researchers, staff and troupe actors. In addition, it identifies the knowledges and mechanisms behind the activities practiced in the stages guided by him, the musical-theatrical games, and organizes them in a binder, which was used to carry out a verification about the possibility and effectiveness of using these games in dynamics conducted by artists and pedagogues, in an environment outside the company.

Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral. / This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.

Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral. / This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.