Thesis (D. Min.)--Trinity International University, 2007. / Abstract. Description based on print version record. Includes bibliographical references (leaves 251-254).

Thesis (M.S.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Includes bibliographical references (p. 94-106).

Thesis (D. Min.)--Trinity International University, 2007. / Abstract. Includes bibliographical references (leaves 251-254).

Thesis (D. Min.)--Trinity International University, 2007. / Abstract. Includes bibliographical references (leaves 251-254).

No description available.

[pt] O teatro musical americano é conhecido internacionalmente devido ao seu poder de entretenimento e grande popularidade. É um gênero híbrido, com raízes europeias, cujos modos de organização se consolidaram no modelo Broadway de exportação ao longo do século XX. O teatro musical brasileiro tem um percurso mais oscilante, alternando momentos de prestígio, à época do teatro de revista, momentos de apelo populista ou didático, caso do teatro musical engajado, e longas entressafras. Desde a década de 1990, o modelo Broadway assalta os palcos brasileiros e, através da apresentação de clássicos do teatro musical americano, educa o gosto da audiência, que se familiariza com as convenções do gênero, como as transições ininterruptas do diálogo para a música e vice-versa. O objetivo desta pesquisa é evidenciar a estrutura do modelo consagrado através de seus elementos constitutivos - book, score - e de sua variedade formal - integrado, conceitual, jukebox - e, desta forma, contribuir para minimizar o desequilíbrio qualitativo dos musicais de autores nacionais face ao modelo Broadway e motivar a criação de libretos que deem continuidade à trajetória do teatro musical brasileiro. / [en] The American musical theater is internationally known due to its entertaining power and its huge popularity. It is a hybrid genre, with European roots, whose organizational methods consolidated into the Broadway-style model for export during the 20th century. The Brazilian musical theater followed a more unsteady path, alternating moments of prestige during the era of the revue, moments of populist or didactic appeal, which is the case of the politically engaged musical, and long off season periods. Since the 1990s, the Broadway model of musical has taken the Brazilian stages by storm, and through showing the classic American musicals, audiences are being educated and familiarized with the conventions of the genre, such as the non-stop transitions between dialog and song and vice-versa. The aim of this research is to highlight the structure of the model that has proven longstanding by the elements that it s made of – book, score – and its variety in form – integrated, conceptual, jukebox – and in this way contribute to minimize the unbalance in quality between the musicals produced by national authors and the Broadway model and to motivate the creation of librettos that will help the Brazilian musical continue on its journey.

Cette thèse porte sur la comédie musicale américaine des décennies 1940 et 1950 à Broadway, illustrée par le répertoire du compositeur Leonard Bernstein. L'enjeu est d'analyser les différents mécanismes internes et externes de création des œuvres de cette époque. La comédie musicale étant un genre vivant à la croisée du théâtre, de la musique et de la danse, nous avons choisi de l'étudier selon plusieurs démarches : historique, structurelle, et typologique. D'un point de vue méthodologique, cette thèse s'appuie notamment sur l'analyse narrative et musicale de 156 musicals, et des trois comédies musicales de L. Bernstein en particulier. Dans un premier temps, la thèse se concentre sur la comédie musicale à Broadway dans les décennies 1940 et 1950, en explicitant les marqueurs historiques, narratifs, musicaux et chorégraphiques du genre. Dans un second temps, la thèse analyse le répertoire des musicals de L. Bernstein dans sa globalité, en interrogeant d'une part le style de l'artiste, et d'autre part la cohérence des œuvres entre elles et avec les canons mis en évidence dans la partie précédente. Enfin, l'étude de la comédie musicale On the Town (1944) explicite la genèse de l'œuvre, ses caractéristiques musicales et chorégraphiques, et la réception publique et critique du spectacle. / This dissertation deals with the American Broadway musical during the 1940's and the 1950's, illustrated by Leonard Bernstein's works. Our concern is to study the various internal and external processes of creation of these pieces during this period. As the Broadway musical is a lively genre overlaying theatre, music and dance, we chose to study it through multiple angles: through its history, its structure and its typology. From a methodological point of view, this dissertation will rely on the narrative and musical analysis of 156 musicals, and especially three of L. Bernstein's musicals. First this dissertation will focus on Broadway's musicals during the 1940's and the 1950's, and will clarify the genre's historical, narrative, musical and choreographic markers. Secondly we will study L. Bernstein's own musicals. We will make explicit the composer's style, and put to test the consistency of his works amongst themselves and with the genre's canons. Last but not least, our analysis of the musical On the Town (1944) we will highlight the show's genesis, its musical and choreographic markers, and its public and critical reception.

In my thesis I focused on the matter of the relationship of Americans during the decades after World War II to their own identity, as well as to the myths of the West or consumer society. I wanted to compare these aspects on plays by Sam Shepard and David Mamet, two playwrights concerned with similar issues in 1960s and 1970s. In the theoretical part of the thesis I concentrated on the development of the American theater off Broadway. I described three significant theater groups of the era and the differences in their approach. I based the comparison of the plays on Richard Schechner's performance theory and J. L. Austin's theory of the so-called "performatives." Later I discussed the matters of rituals and myths in the postmodern society where I based my theory especially on Victor Turner's and Marie Maclean's work. The two main chapters are dealing with comparing two plays by each author with regard to the way Shepard and Mamet work with rituals and modern myths. Those are considered commonplace, insufficient, almost misleading in a modern society, and the plays' characters thus cannot cope with the society. They end up being on its outer edge and do not seem to be able to find the way back. As a result of the comparison of the plays based on the theoretical part I concluded that even though from the...

This thesis addresses the matter of convention in Broadway songs of the song and dance era. Composers worked with implicit, regular procedures in the commercial aesthetic of the 1920s and 1930s New York theater industry. However, discussions of formal convention in this repertoire have not gone much beyond the identification of AABA and ABAC forms. I explore how hypermeter and conventional formal layouts act as schemata. Through this lens, I advocate for an in-time, listener-based approach to form, attending to the stylistically learned projections and anticipations. Later on, I unpack many of the conventional patterns underlying the ABAC form. I argue that the ABAC form provides a template for climactic musical narratives, which places climaxes near the end of the form. Lastly, I focus on AABA form where I highlight many salient conventions of the AABA form and draw historical connections to AABA forms in rock and jazz.

abstract: Since its inception, the American Broadway industry has flourished and grown to include numerous vocal styles and techniques. The early twenty-first century has seen a rapid increase in demand for collegiate courses and instructors pertaining to music theater. It has therefore become necessary for voice instructors to be equally comfortable teaching both music theater and classical techniques such as bel canto. This document serves as a resource for instructors seeking more information on defining and teaching vocal styles in music theater including legit, mix, and belt. The first two chapters address the following three questions: 1) What is bel canto and how does the technique function? 2) What is music theater as a vocal style and how do colloquial terms such as legit, mix and belt function within music theater? 3) Are the technical ideas behind bel canto and music theater really that different? The third chapter offers a curriculum for a semester-long course (a hybrid between a song literature class and a performance-based seminar) called Singing Music Theater Styles: From Hammerstein to Hamilton. This course shows the rich development tracing techniques of bel canto through techniques used in contemporary music theater. This document concludes with an annotated bibliography of major sources useful to both the instructors wishing to teach this course and the performers looking to expand their knowledge of singing music theater. / Dissertation/Thesis / Doctoral Dissertation Music 2018