High Wire is a chamber ballet in five movements for multiple woodwind player (piccolo, Eb clarinet, alto saxophone, bass clarinet) and piano. It was inspired by Frederick H. Graham's Wait For The Muncie Boys: Indiana's Early Circuses, and was first performed, with choreography by Michele Kriner, at a concert of the Middletown Arts Project on January 26, 2003. The work is somewhat unusual in that it is both tonal and serial. It evokes popular musical styles of the turn of the twentieth century, with particular reference to circus music, and yet it is based on a twelve-tone series and generally adheres to strict serial techniques. The genesis of the work, the relationship of the music to the choreography, and the way in which two rather different musical sensibilities are reconciled are discussed in the written report that serves as an introduction to the score. A recording of the first performance is included in the side-pocket. / School of Music

This dissertation is a ballet composed for chamber orchestra. The ballet is based on Heinrich von Kleist’s play Penthesilea. The twenty-four scenes of Kleist’s play were reduced into ten scenes. In Kleist’s version of Penthesilea, unlike in Greek mythology, the queen of the Amazons Penthesilea survives after being struck by Achilles, who falls in love with her. The romantic relationship between the two warriors is tragic and results in the death of both. Penthesilea features contrapuntal writing, elaborate harmonic language and Leitmotif technique. The performance time is approximately 40 minutes. / Access to score permanently restricted to Ball State community only. / School of Music

Thesis (D.M.A.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 84-85).

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The ballet, based on the story of Susanna as found in the Apocrypha, is scored for chamber orchestra consisting of flute doubling piccolo, oboe, Bb clarinet, bassoon, horn in F, two Bb trumpets, trombone, piano, harp; two percussionists playing timpani, tambourine, xylophone, glockenspiel, chimes, small triangle, large triangle, small suspended cymbal, large suspended cymbal, two crash cymbals, antique cymbals, snare drum, piccolo snare drum, bass drum, bongos, three tom-toms, sleigh bells, large gong, temple blocks, bell tree, metal wind chimes; and a string quintet of two violins, viola, violoncello, and contrabass. The music consists of an overture lasting approximately three and one-half minutes, and three scenes lasting approximately eight and one-half, nine and one-half, and ten minutes respectively. The entire ballet is approximately thirty-one and one-half minutes in duration.

Thesis (Ph. D.)--University of Florida, 2006. / Title from title page of source document. Document formatted into pages; contains 168 pages. Includes vita. Includes bibliographical references.

Thesis (D.M.A)--University of Maryland, College Park, 2005. / Compact discs. Includes bibliographical references.

Diss.--Philosophie--Durham (N.C.)--Duke University, 1995. / Bibliogr. p. 489-529.

Rolf de Maré, directeur, et Jean Biirlin, chorégraphe, fondent à Paris, en 1920 les Ballets suédois. Durant ses cinq années d'existence, cette compagnie affiche la volonté de se libérer de l'hégémonie russe en proposant des programmes audacieux. Les plus novateurs d'entre eux sont réalisés avec la collaboration de compositeurs du Groupe des Six -Milhaud, Poulenc, Honegger, Auric, Tailleferre - mais aussi celle d'écrivains et de peintres tels Jean Cocteau, Paul Claudel, Blaise Cendrars, Ricciotto Canudo, Fernand Léger, Jean Hugo et Irène Lagut. Entre 1921 et 1923, la compagnie crée au Théâtre des Champs Elysées : L'Homme et son désir de Milhaud, Les Mariés de la Tour Eiffel des Six (sauf Durey), Skating Rink de Honegger, Marchand d'oiseaux de Tailleferre et La Création du monde de Milhaud. Autant de prototypes dans lesquels le théâtre, la peinture et la musique imposent un renouvellement chorégraphique constant,mais également un renouvellement du ballet comme genre. Cette thèse s'intéresse au rapport de ces compositions avec les autres arts sollicités dans une même énergie créatrice. L'étude génétique s'appuie sur la comparaison des partitions manuscrites avec les tapuscrits et manuscrits des livrets (conservés entre autres au Dans muse et de Stockholm, au fonds B. Cendrars des Archives Littéraires Suisses à Berne). Elle consulte aussi les correspondances, les maquettes de décors, de costumes, les esquisses chorégraphiques et permet de définir la place et le rôle de tous les acteurs de ces ballets. Elle souligne l'impact de la collaboration des Suédois avec les Six non seulement sur l'évolution de la danse mais aussi sur celle des autres arts. / The Ballets suédois was formed in Paris in 1920 by Rolf de Maré, director, and Jean Biirlin,choreographer. In its five-year existence, this company asserted its wish to break away from the Russianhegemony by proposing daring performances. The most innovative of them were created in collaborationwith composers from 'les six' such as Milhaud, Poulenc, Honeger, Auric or Tailleferre, and also with thecontribution of writers and painters such as Jean Cocteau, Paul Claudel, Blaise Cendrars, RicciottoCanudo, Fernand Léger, Jean Hugo or Irène Lagut. Between 1921 and 1923, the company stagedMilhaud's L'Homme et son désir and La Création du monde, Honegger's Skating Rink, Tailleferre'sMarchand d'oiseaux and The Marriage on the Eiffel Tower by 'les six' (to which Durey did notcontribute) at the Théâtre des Champs-Elysées; so many prototypes on which drama, painting and musicnot only imposed constant choreographic renewal, but a renewal of the ballet as a genre. This thesis dealswith the connection between those compositions and the different forms of art they combine in the samecreative energy. The genetic study is based on the comparison of the handwritten scores with thetapuscripts and the manuscripts of the librettos (kept at the Dansmuseet in Stockholm or at the FundsBlaise Cendrars of the Swiss Literary Archives in Bern). It also studies correspondence, models ofscenery, costumes, choreographic sketches and aims at defining the place and role of al! the performers in_those ballets. It stresses the impact the collaboration between the Swedish and 'les six' had, not only onthe evolution of dancing, but also on thal of other forms of arts.

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