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.

Orientador: Orna Messer Levin / Acompanha 1 CD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-14T12:21:36Z (GMT). No. of bitstreams: 1 Carvalho_DanielleCrepaldi_M.pdf: 8306817 bytes, checksum: 03d52e563169bdbc68987dd592f976fa (MD5) Previous issue date: 2009 / Resumo: Neste trabalho, analiso a produção teatral com que o literato Henrique Maximiniano Coelho Netto (1864-1934) - autor importante na virada do século XIX para o XX - inaugurou sua intervenção nos palcos cariocas, em especial o "poema dramático" Pelo Amor! (1897), o "episódio lírico" Ártemis e a "balada em prosa rítmica" Hóstia (1898). Através de tais obras, o literato almejava combater a crise que, segundo seu julgamento, o teatro enfrentava. Sua crítica era dirigida tanto às peças teatrais representadas nas casas de espetáculos comerciais do Rio de Janeiro quanto aos artistas que nelas atuavam. O repertório das companhias que estavam em cartaz na capital era composto, em sua maioria, pelos melodramas lacrimosos e especialmente pelas comédias musicadas - estas recebiam a contribuição dos gêneros musicais populares (a exemplo do lundu e do maxixe). As comédias musicadas exploravam as situações cômicas, algumas vezes fantasiosas, por meio de diálogos construídos, muitas vezes, sobre o duplo sentido das palavras. Além da ausência de qualidades artísticas, Netto considerava essas comédias musicadas licenciosas, já que invariavelmente assumiam uma conotação sexual, devido aos ditos ambíguos que utilizavam e às danças sensuais. Sendo assim, o literato propunha-se a conduzir uma regeneração nos palcos, apoiando-se, para isso, na tradição literária ocidental, da qual retirou os assuntos para a escrita desses dramas. E por acreditar que o elenco profissional não tinha condições intelectuais para levar à cena peças literárias, estimulou que fossem encenadas por um elenco amador composto pela elite econômica do Rio de Janeiro. Pelo Amor! trata da desolação de uma condessa escocesa frente à perda do esposo e o amor que nutre por ele, o qual engendrará o desfecho trágico de ambos. A atmosfera lúgubre que perdura no drama se reflete na música criada por Leopoldo Miguez, que, tendo sofrido visível influência do músico alemão Richard Wagner, criou temas musicais para as personagens principais e esboçou uma interação entre elas no plano musical. A iniciativa conquistou adeptos mas também recebeu críticas. O mesmo deu-se, no ano seguinte, quando da encenação de Ártemis (música de Alberto Nepomuceno) e Hóstia (música de Delgado de Carvalho), no ano seguinte. Na verdade, muitas foram as críticas, ora às peças, ora à relação entre o texto e a música, reação que, em grande medida, tangia o aspecto político. Ora, a imposição de um novo modelo artístico intentava gerar a reordenação do cenário artístico carioca e a exclusão de obras consagradas pelo público e também parte da crítica, como as óperas italianas, as comédias musicadas e os melodramas. Proponho-me, na presente dissertação, a analisar as três peças de Coelho Netto à luz da produção teatral e crítica da época e sobre a época, e daquilo que os literatos do Rio de Janeiro publicaram a respeito da movimentação cultural da cidade. Ocasionalmente, tal trabalho também irá se estender à partitura das obras, para que a relação entre texto e música seja melhor compreendida. / Abstract: In this work, I analyze the theater plays with which Henrique Maximiniano Coelho Netto (1864- 1934) - important Brazilian writer in the turn of the nineteenth century to the twentieth - started his interference in the stage of Rio de Janeiro, specially the "dramatic poem" Pelo Amor! (1897), the "lyric episode" Ártemis and the "ballad in rhythmic prose" Hóstia (1898). Through these plays, the writer claimed to defeat the crisis he believed the theatre was facing. His criticism aimed the plays presented in the commercial theaters of Rio de Janeiro and the actors and actresses that played them. Thecompanies' repertoire was restricted to almost only teary melodramas and specially musical comedies - the comedies had the contribution of popular music (for example, lundu and maxixe) and presented usually funny and sometimes fantastic situations, with dialogues that eventually leaned upon double senses. Beyond the lack of artistic qualities, Netto considered the musical comedies vicious, because of the sexual insinuation they implied through dialogues and music. Therefore, the writer intended to conduct a regeneration of the stage, using for that the occidental literary tradition, from where the subjects of these plays were chosen. And because he believed the professional artists lacked intellectual conditions to present literary plays, he gave his work to be put on stage by amateur groups that had the economic elite as members. Pelo Amor! presents the desolation of a Scottish countess because of the loss of her husband and the love that she devotes to his, which is responsible for the tragic ending of both. The grim atmosphere that remains in the drama reflects in the music created by Leopoldo Miguez, that had suffered visible influence of the German musician Richard Wagner, for Miguez creates musical themes for the leading characters and paints an interaction between them in the musical field. But the idea didn't have only adepts. The same happened with Ártemis (music by Alberto Nepomuceno) and Hóstia (music by Delgado de Carvalho), in the following year. In fact, many were the detractors of the texts and music of these plays, reaction that is largely related to political aspects, once the imposition of a new artistic model intended to cause the reorganization of Rio's artistic scenery and the exclusion of work of arts that were successful among the public and also part of the critic, like the Italian opera, the musical comedies and the melodramas. I intend to analyze these plays taking in consideration the theatrical and critical production of that time and of nowadays and what Rio's writers published related to the cultural activities of the capital. This work will also occasionally refer to the printed lyrics of the plays in order to understand the relation between text and music. / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

戴淑茵. / "2003年3月". / 附歌譜. / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 172-178). / 附中英文摘要. / "2003 nian 3 yue". / Fu ge pu. / Dai Shuyin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 172-178). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 1.1 --- 研究目的與架構 --- p.1 / Chapter 1.2 --- 研究概況 --- p.3 / Chapter 1.3 --- 研究方法與資料 --- p.6 / Chapter 第二章 --- 創作背景 --- p.11 / Chapter 2.1 --- 香港的歷史與文化 --- p.11 / Chapter 2.2 --- 香港的粤劇音樂 --- p.15 / Chapter 2.3 --- 仙鳳鳴劇團的組織 --- p.16 / Chapter 2.4 --- 《再世紅梅記》的寫作背景與内容 --- p.18 / Chapter 2.5 --- 小結 --- p.22 / Chapter 第三章 --- 音樂的創意 --- p.24 / Chapter 3.1 --- 整體的結構 --- p.24 / Chapter 3.2 --- 「中」、「西」結合的器樂組合 --- p.32 / Chapter 3.3 --- 新作小曲的特色 --- p.49 / Chapter 3.4 --- 唱詞的特點 --- p.57 / Chapter 3.5 --- 小結 --- p.70 / Chapter 第四章 --- 創作過程中的創意 --- p.71 / Chapter 4.1 --- 改編的原創性 --- p.72 / Chapter 4.2 --- 創作的分工 --- p.84 / Chapter 4.3 --- 創作手法的改變一由「依曲填詞」到「依詞譜曲」 --- p.97 / Chapter 4.4 --- 創作流程的變遷 --- p.102 / Chapter 4.5 --- 小結 --- p.109 / Chapter 第五章 --- 結論 --- p.110 / Chapter 5.1 --- 創意與傳統的交融 --- p.110 / Chapter 5.2 --- 多元文化的結合 --- p.113 / Chapter 5.3 --- 文化演變的結果 --- p.115 / 附錄 --- p.119 / 參考資料 --- p.172

This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.

劉洋. / "2004年1月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 100-107). / 附中英文摘要. / "2004 nian 1 yue". / Liu Yang. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 100-107). / Fu Zhong Ying wen zhai yao. / 摘要 --- p.1 / Chapter 第一章 --- 導論 --- p.1 / Chapter 1.1 --- 硏究目的和範圍 --- p.1 / Chapter 1.2 --- 硏究背景 --- p.2 / Chapter 1.3 --- 考查工作及資料搜集 --- p.6 / Chapter 第二章 --- 二人轉簡介 --- p.8 / Chapter 2.1 --- 源起及發展 --- p.8 / Chapter 2.2 --- 與東北民歌及戲曲的關係 --- p.17 / Chapter 2.3 --- 語言特點 --- p.22 / Chapter 2.4 --- 二人轉的音樂風格 --- p.25 / Chapter 2.5 --- 觀眾的參與及影響 --- p.33 / Chapter 第三章 --- 二人轉女演員概述 --- p.35 / Chapter 3.1 --- 女演員出現的地理及歷史因素 --- p.35 / Chapter 3.2 --- 女演員的出現及發展 --- p.36 / Chapter 3.3 --- 女演員的服裝、道具及扮相 --- p.39 / Chapter 3.4 --- 女演員的表演 --- p.44 / Chapter 3.5 --- 女演員的舞蹈 --- p.58 / Chapter 第四章 --- 三位女演員的表演特色 --- p.68 / Chapter 4.1 --- 閆學晶 --- p.68 / Chapter 4.2 --- 王娟 --- p.74 / Chapter 4.3 --- 梁學華 --- p.81 / Chapter 4.4 --- 二人轉女演員特點總結 --- p.86 / Chapter 第五章 --- 結論 --- p.89 / Chapter 5.1 --- 總結 --- p.89 / Chapter 5.2 --- 未來的硏究方向 --- p.98 / 參考著作 --- p.100 / 附錄 --- p.108 / 附錄I藝訣 --- p.109 / 附錄II譜例 --- p.112 / 譜例2-1 選自《西廂》唱段 --- p.113 / 譜例2-2 選自《西廂》唱段 --- p.114 / 譜例2-3 選自《西廂》唱段 --- p.116 / 譜例4-1 選自《皇親夢》唱段 --- p.118 / 譜例 4-2 選自《皇親夢》唱段 --- p.119 / 譜例 4-3 選自《包公斷后》唱段 --- p.121 / 譜例 4-4 選自《包公斷后》唱段 --- p.123 / 譜例 4-5 選自《包公斷后》唱段 --- p.124 / 附錄III圖例 --- p.125 / 圖例2-1 嗩吶、二胡、琵琶 --- p.126 / 圖例3-1 丑靴、旦舞鞋、服裝 --- p.127 / 圖例3-2 大板和手玉子、扇子、手絹 --- p.128