Thesis (D. Mus. Arts)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 77-79).

Theses (M.A.)--Marshall University, 2006. / Title from document title page. Includes abstract. Document formatted into pages: contains iv, 55 pages. Bibliography: p. 45-50.

Benjamin David (Benny) Goodman known for his unique style of jazz clarinet performance and the acclaimed "King of Swing" began studying and performing standard clarinet repertoire after becoming firmly established as a jazz musician. Goodman's thirst for new works and desire to become a recognized concert artist led to a series of commissions from noted composers of the twentieth century. The works created as a result of these commissions have received varied acceptance, yet are important contributions to clarinet repertoire. Some of the works included in this study have been described in other studies, yet no other study exists which summarizes the history, nature and import of non-jazz works commissioned by Goodman. This study is divided into four chapters. Chapter one summarizes Goodman's early musical training and the establishment of his jazz career; chapter two summarizes Goodman's study and performance of standard clarinet repertoire; and chapter three includes a description of each commissioned work in terms of history and musical style. Reviews, especially of premiere performances, are noted and summarized. The concluding chapter includes evaluative comments by recognized clarinetists about these works, documentation of recent rentals of their accompaniments, and a survey of current recordings available for each work. Works included in the study are: Contrasts for Violin, Clarinet, and Piano by Bela Bartok; Concerto for Clarinet and String Orchestra by Aaron Copland; Concerto for Clarinet and Orchestra by Paul Hindemith; Concerto for Clarinet and Orchestra by Darius Milhaud; and Derivations for Clarinet and Band by Morton Gould. An unpremiered Concerto for Clarinet, Cello, and Orchestra by Allen Shawn is described. Letters written by composers Bela Bartok, Paul Hindemith, Morton Gould, Darius Milhaud, and Allen Shawn concerning their commissioned works were collected and are summarized. These letters along with the reviews of premiere performances, statements by noted clarinetists, and data concerning recent performances and recordings of works commissioned by Goodman form a new perspective of their history, nature and significance.

Syftet med denna uppsats har varit att se på hur och om gestaltningen kring Benny Fredriksson har förändrats i samband med #metoo. Det som undersökts är Sveriges fyra största tidningar och deras artiklar från december 2017 till november 2018. 
Resultatet i denna studie visar på att det fanns en skillnad bland det fyra största tidningarna i deras gestaltningen av Benny Fredriksson före och efter hans självmord. Innan Benny Fredrikssons död vinklade tidningarna på hans hårda ledarstil etc. Men efter hans död skrev tidningarna om hans klassresa och hur mycket gott han har medfört till kulturhuset stadsteatern. Inställningen blev mer neutral och positiv efter dödsfallet.

Aaron Copland¡¦s Clarinet Concerto was written for jazz clarinetist Benny Goodman in 1948. The composition used not only the jazz style of 20s that he had been appreciated, but also the frequent used compositional techniques -- developing and expanding the plain materials that presented into various ways. Moreover, besides the treatment of jazz rhythms, the combination of elements of Brazilian folk song and American popular music were also applied to the Clarinet Concerto. Although ¡§concerto¡¨ has never been the center of Copland¡¦s works, the Clarinet Concerto has taken an outstanding place in the 20th century clarinet repertoire. This is explained by the arrangement of instrumentation, the originality of structure and the techniques of using plain materials. It combines the characteristics of uncomplicated melodies and meanwhile demands challenging performance techniques. This research includes three chapters. The first chapter introduces Copland¡¦s musical career, shifts of style and the illustration of the Clarinet Concerto¡¦s background. The second chapter brings in the discussion of the concerto from three aspects -- structure, musical elements and performance practice. The final chapter deals with the distinctiveness of the Clarinet Concerto.

Since 1995 the musical Kristina från Duvemåla has been performed on many national theatre stages in Sweden and is still obtaining success and fame. It is based on novels by the famous Swedish author Vilhelm Moberg, Utvandrarna (1949), Invandrarna (1952), Nybyggarna (1956) and Sista brevet till Sverige (1959) that revolve around a Swedish family emigrating to the United Stated during the 19th century. This thesis investigates both the novels and the musical adaptation in a comparative way. Theory of adaptation and intermediality is used to analyse differences and similiarities of the stories used in the novels and the musical. It can be assumed that major changes were implemented in the adaptation of the main characters, specifically Kristina. According to that a shift in importance and variations in characteristics of the main characters appeared in the musical. Since the musical is named after the character Kristina who is moreover the key figure in the overall scenic performances, it leads to the conclusion that there exist major shifts in importance of content structures. For the analysis, individually chosen scenes are investigated in comparison with the novel contents as well as certain musical songs and dialogues. It can be ascertained that Kristina’s role in the musical has changed significantly in comparison to the novels by Vilhelm Moberg. The results do make contributions to the applied analysis of media adaptations in literary studies and musicology and might state an example for further analysis of adaptations. / Kristina und Kristina ist eine vergleichende literaturwissenschaftliche Analyse der Auswandererromane Vilhelm Mobergs und dem Musical Kristina från Duvemåla. Bei den Werken Vilhelm Mobergs, die als Grundlage für diese Arbeit dienen, handelt es sich um Utvandrarna – Die Auswanderer (1949), Invandrarna – In der neuen Welt (1952), Nybyggarna – Die Siedler (1956), Sista brevet till Sverige (1959) – Der letzte Brief nach Schweden. Vergleichend dazu wird das Manuskript des Musicals Kristina från Duvemåla aus dem Jahr 2012 untersucht, insbesondere dessen Liedtexte, Szenendialoge sowie Monologe. Ziel dieser Arbeit ist es, mithilfe einer komparativen Analyse der vier Romane und des Musicals, mögliche Gemeinsamkeiten und Unterschiede festzustellen. Der Fokus liegt dabei auf dem Hauptcharakter Kristina, welche im Vergleich zu den anderen Hauptcharakteren Karl Oskar, Robert und Ulrika bedeutend häufiger im Musical auftritt. Für die Textanalyse werden besonders Linda Hutcheons A Theory of Adaptation (2006) und Hans Lunds Intermedialitet. Ord, bild och ton i samspel (2002) genutzt. Es werden ausgewählte Episoden aus dem Musical mit den Inhalten der vier Romane Mobergs verglichen. Auf Grund des limitierten Umfangs der Arbeit ist nur eine begrenzte Betrachtung der Primärquellen möglich. Die szenische Darstellung erhält keinen Einzug in die Analyse. Bei der musikalischen Umsetzung der Romane im Musical erfolgt eine Betrachtung an ausgewählten Beispielen. Nach der vergleichenden Textanalyse beider Werke ist festzustellen, dass es sich um eine gelungene Adaption handelt, da nur bei genauer Betrachtung einzelner Episoden aus dem Musical Unterschiede zu den ursprünglichen Romanen deutlich werden. Zudem ist das Musical inhaltlich sehr nah an Mobergs Auswandererromanen angelegt. Notwendige Anpassungen, wie Kürzungen und Zusammenfassungen von Episoden aus den Romanen, sowie eine Fokussierung auf die wichtigsten Geschehnisse sind ebenfalls zu verzeichnen. Die These, dass Kristina im Musical anders dargestellt wird als in den Büchern Vilhelm Mobergs, kann durch die genaue Textanalyse bestätigt werden. Während die Figur Kristina in den Romanen eher eine zurückhaltende, vorsichtige und schüchterne Rolle einnimmt, wird sie im Musical als eine mutige, direkte und starke Frau dargestellt und wahrgenommen. Bis heute erfreut sich das Musical Kristina från Duvemåla in Schweden größter Beliebtheit und dies nicht nur aufgrund der gelungenen Umsetzung der Auswandererromane Vilhelm Mobergs, sondern auch dank der musikalischen Inszenierung durch Benny Andersson und der stilvollen Liedtexte Björn Ulvaeus‘.

The aim of the study was to examine the news coverage surrounding Stockholm City Theatre’s former CEO Benny Fredriksson during the metoo-movement, from the time of the accusations against him until a time after his death. The questions examined were: How is Benny Fredriksson represented at the time of the publishing of the accusations and at the time of his death? How are the anonymous witnesses and the journalism represented? How does the representation of victims and perpetrators change after the death of Benny Fredriksson? What are the differences and similarities in the reporting of Aftonbladet and Dagens Nyheter? To analyze this, we made a discourse analysis of 12 articles from Aftonbladet and 13 articles from Dagens Nyheter. The results showed that the roles of all the characters change during the coverage. At the time of the publishing of the accusations, Benny Fredriksson is represented as an evil dictator that harasses his employees at Stockholm City Theatre. After his death, Benny Fredriksson is represented as a victim of circumstances, helpless and full of anxiety. At first, the witnesses are represented as scared, helpless victims. At the end of the coverage the representation has changed, and the victims are instead represented as perpetrators that are accused of lying. The journalism goes from being represented as investigative journalism to being represented as a media hunt that killed Benny Fredriksson. Overall, Aftonbladet is more defending of the witnesses and the journalism while Dagens Nyheter is more defending of Benny Fredriksson. The study shows that a death can affect the news coverage and consequently how the characters are represented.

Depuis le début des années 1990, le milieu local et communautaire est de plus en plus invité (voire même forcé) à jouer un rôle accru en matière de gestion municipale. Notre étude cherche à déterminer si l'évolution des pratiques de participation publique du projet de redéveloppement Benny Farm reflète de nouvelles formes de gestion urbaine en aménagement, orientées vers des processus de concertation et des mécanismes administratifs qui s'apparentent à un modèle de gouvernance locale participative. Cette étude cherche à comprendre la dynamique d'ensemble plutôt qu'à mesurer les motivations des différents intervenants impliqués dans le processus de consultation publique de Benny Farm. Elle cherche à déterminer en quoi une approche comme la gouvernance locale participative offre des avantages face aux formes de participation plus traditionnelles comme la consultation publique en ce qui concerne l'élaboration de projets urbains à caractère sensible comme Benny Farm. Benny Farm constitue à cet égard un projet d'aménagement urbain particulier, où différentes formules participatives se sont succédées, dans le cadre d'un même projet, sous l'autorité de trois administrations municipales différentes: le RCM, Vision Montréal et l'UCIM. L'évolution de ces différentes formules sur une période de 15 ans, soit de 1991 à 2005, en fait un cas unique qui permet une réflexion sur les rapports qu'entretiennent gouvernance locale et participation. La méthodologie choisie est de type qualitatif. Deux principaux outils de collecte ont été utilisés afin d'obtenir des éléments de réponse à nos interrogations: l'entrevue semi-dirigée et l'analyse documentaire (mémoires, rapports, revue de presse). Finalement, notre analyse laisse supposée que la gouvernance peu se révéler comme un nouvel outil de planification local, conjuguant résolution de conflit et concertation.

Benny Anderssons och Björn Ulvaeus musikal Kristina från Duvemåla är baserad på Vilhelm Mobergs utvandrarepos och sågs mellan åren 1995–1999 av över en miljon besökare. Denna undersökning har med utgångspunkt i de teoretiska termerna adaption, ledmotiv och folkton analyserat dels hur den litterära textens teman och handling har adapterats till musikalen i form av sångtexterna och dels hur upphovsmännen har valt att musikaliskt förmedla Karl Oskars och Kristinas kärlek samt Kristinas hemlängtan. Begreppen ”aural equivalents” och ”musically voiced” har varit ledord i undersökningen, likaså dramaturgiska teman. Undersökningen är både en adaptionsanalys och en musikalisk analys. Enligt det hermeneutiska tankesättet pendlar undersökningen mellan detaljerade analyser av utvalda låtar och låttexter och mer översiktliga analyser av musikalen som helhet i förhållande till Vilhelm Mobergs utvandrarepos. Det står klart att upphovsmännen har förvaltat originalverkets berättelse väl, men de har också gjort en del perspektivförändringar då många av karaktärerna har fått mindre utrymme än i böckerna, medan karaktären Kristina tar mer plats i musikalen. Upphovsmännen har använt sig av ledmotiv och folkton som ”aural equivalents” för att både skildra kärleken mellan Kristina och Karl Oskar och Kristinas hemlängtan. Ledmotivens symbolik är tematisk, snarare än kopplad till enskilda karaktärer, vilket i sin tur har resulterat i en komplex ”väv av ledmotiv”. Folkton och direkta inlån från traditionell folkmusik har använts för att gestalta Kristinas hemlängtan och för att placera berättelsen i tid och rum. Till sist reflekteras det över det faktum att även utvandrareposet är en adaption av den svenska utvandringen till Amerika under 1800-talet. Denna undersökning hoppas kunna bidra till forskningen kring hur ett originalverk påverkas av att adapteras till musikteaterns förutsättningar och konventioner och på vilka sätt en musikalkompositör musikaliskt kan gestalta de dramaturgiska teman som en musikal består av.

Troupers: Essays in Three Rings is a collection of fourteen essays focused mainly on variety entertainers (including the author). It leads the reader through a menagerie of the author's own enthusiasms--from clowning and circus elephants, to hot jazz and the ukulele. While the primary occupation of the "troupers"spotlighted here has always been to delight audiences, many of them--both human and animal--could not escape the hardscrabble, the sundered relations, the violence of everyday life. The author tells the stories of these "troupers" here, stories that reveal both their suffering and their refusal to suffer.