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Vortragsfolge Prof. Uwe Huebner: Metacomputing - neue Aufgabenverteilung im Netz Dr. Wolfgang Riedel: Was nuetzt uns SGML Sven Graupner: What's up in Operating System Research Sven Koehler: IP Security (nach RFC 1825) Holger Trapp: Kryptographisch gesicherte Kommunikation und Datenhaltung Dr. Joerg Anders: ATM-Eine kritische Betrachtung Guenther Fischer: Cacheserver-Hierarchien Frank Richter: Ein neuer WWW-Server fuer www.tu-chemnitz.de Steffen Brose: Web-Zugang zu DQS Jens Kraizci, Volker Holfeld: Wie weiter mit dem CSN? Jan Wunderlich: Harvest Michael Hasenstein: Datenbank-Klienten auf Java-Basis Andreas Koehler: Form-based File Upload in HTML Gerd Heide: BROADWAY - Interaktivitaet im WWW mittels X-Protokoll Matthias Ehrig: NFS 2 - Moeglichkeiten und Grenzen Ronald Koehler: NFS 3 Christoph Ziegler: HSM - Was verbirgt sich dahinter? Kai Zscheile: Hardware-Loesungen fuer HSM Matthias Clauss: Vergleich und Bewertung von HSM-Loesungen Thomas Mueller: Fileserving an der TUCZ Karsten Baensch: AFS-Loesung fuer die Softwareumgebung der Parsytec-Maschinen Joern Wohlrab: Alternative verteilte Filesysteme Jens Junghaenel: Integration von PC's mittels Samba Merten Schumann: Archivierung elektronisch publizierter Dokumente Michael Tautenhahn: Fast Ethernet Jens Wagner: Firmenadressverwaltung am URZ Dr . Wolfgang Riedel: Neues aus der TeX-Welt (METAPOST, lyx) Carsten Mund: Untersuchung von Einflussfaktoren auf SPEC CINT- und CFP-Benchmarks

From the ancient Greek theater, through the dawn of the Renaissance, beyond the development of Shakespearean theater, to the Broadway theater boon in the 1920s, sound reinforcement within the theater remained virtually unchanged. Through Broadway's Golden Age, directors and producers relied on architectural acoustics to carry sound throughout the theaters. This is not surprising given that most of the theaters were built in the early 1900s, before the invention of any electric sound reinforcement technology. Moreover, early attempts at amplification in the 1940s yielded dismal results. Eventually, the maturation of the integrated book musical and the invasion of the rock musical in the late 1960s demanded more than architectural acoustics alone could provide. Abe Jacob, the sound designer of Hair and Jesus Christ Superstar, led the efforts to create a modern approach to sound design. Relying on his rock-and-roll touring experience and the introduction of technological advancements within the recording industry, Jacob and others forged a modern approach to sound design specifically within the framework of the Broadway musical, which helped restore the fading industry of the Broadway musical in the late 1960s. These new approaches served well the human irony and concept musicals of the 1970s by Sondheim and other emerging composers. Sound design was critical to the successful mounting of the mega-musicals of the 1980s (Cats, Les Miserables, Starlight Express, The Phantom of the Opera, Miss Saigon, etc.). Now, modern day composers collaborate early in the creation process with sound designers and create original works with the power of modern sound design in mind, such that today, sound design is a fundamental design discipline employed in every Broadway musical–from the initial show concept conversations all the way through opening night.

The purpose of this study is to outline the origins of African-American men in musical theatre, uncover their contributions to the art form, and explore how their legacy is continued today. I was inspired to do this research because through my undergraduate curriculum I have only narrowly studied African-American men in musical theatre and opera history. Upon realizing the lack of attention to this subject matter, not only in my curriculum but in historical resources, I was inspired to address the need for this research. The courses I have taken included Theatre History 1 and 2 and Musical Theatre History 1 and 2; recognition of African-Americans in the theatrical arts has been discussed at a minimal level. The majority of African-American studies in these classes focus on minstrelsy and its contribution to American musical theatre. Minstrelsy was an American form of entertainment consisting of variety acts, dancing, and music during the early 1900s. The shows were a mockery of African-Americans with white (Sometimes Black) men dressing themselves in clown-like costumes and black face paint to depict a caricature of blacks. Throughout my coursework I have found there is still a presence of Minstrelsy in the framework of American musical theatre today. Understanding how minstrelsy influenced musical theatre led me to research Bert Williams, a pioneer African-American performer both in minstrelsy and American theatre. Bert Williams broke racial barriers, allowing African-Americans to perform alongside whites and gain proper show billing. This not only influenced theatre, but the social temperature of the time as well, as the stereotype of African-Americans in society slowly began to be broken down, and whites having the opportunity to see African-Americans as normal people aided in the seeding and progression of the civil rights movement. To further study the works and life of Bert Williams, I learned and performed his iconic song, "Nobody." The song is a commentary of how Williams is overlooked because he is an African-American man. It talks about how he is expected to be funny and make a mockery of himself at the expense of himself. In researching the historical context and gaining an understanding of the content within the song, I was able to better understand other roles I have played in various musicals. This gave me a different perspective to the subject matter of racism within a show. Furthermore, it allowed me to view the evolution of African-American roles in musical theatre, and how they originated in vaudevillian shows. A subject of which I had never explored within my classes. Williams had a very successful and influential career and became the basis for my research. However, as I began my exploration, I realized there were a vast variety of men of color who either contributed as much, if not more, to the progression of African-American men in musical theatre and opera. Bert Williams, Todd Duncan, and Paul Robeson all forged careers in musical theatre and/or opera. These men aided in presenting African-American men in realistic settings and not as stereotyped caricatures. African-American men in musical theatre and opera are typically overlooked for their contribution to the art forms. However, Bert Williams, Todd Duncan, and Paul Robeson were trailblazers for African-American men in musical theatre and opera; utilizing their status and fame to make political change and fight for equal rights, both on and off stage. Their legacy is seen in the art form through the structure of musical theatre, the content of the musical comedy that led to the musical drama, and through the integration of the African-American performer in both musical theatre and opera. In continuation of their legacy, we see more roles in shows for African-American men and a growing interest in shows with African-Americans. The recent opening and revivals of shows like Porgy and Bess, Motown: The Musical, and Kinky Boots all feature leading African-American men on stage. My duty as a young African-American practitioner of both musical theatre and opera is to continue their legacy through both my studies and performance. I am honored to be a part of their legacy, furthering their contributions, and bringing light to their stories through my research and analysis.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’université de Montréal (www.bib.umontreal.ca/MU). / WAG! The Musical est la seconde comédie musicale d'Aleksey Shegolev ainsi que la première à être exécutée dans un théâtre off-Broadway à New York durant l'été 2013. Une des premières comédies de William Shakespeare, Peines d’amour perdues, a servi d’inspiration pour son partenaire Julian Silverman (dramaturge) et lui (compositeur et librettiste) dans la composition de WAG!. Afin de moderniser le sujet shakespearien traité dans les Peines d’amour perdues, plusieurs ajustements ont été nécessaires. Dans le but de maintenir l’attention des spectateurs, le niveau d'intensité dans l’action doit constamment s'élever. Cette thèse traitera notamment des divers procédés musicaux employés dans le but de soutenir l’action. Le rock ' n' roll, ainsi que le jazz furent les principaux langages musicaux à avoir une forte influence sur cette composition. Conséquemment, à travers une analyse détaillée, Shegolev explique comment le rythme, l'harmonie et la texture construisent sa comédie musicale. De plus, la manière de rendre l’humour en musique, si nécessaire au genre comique, sera également objet de discussion dans cette dissertation. La dissertation sera clôturée par un chapitre qui traitera de l'expérience personnelle que Shegolev a accumulée au cours des ateliers de lecture et des répétitions aux quelles sa pièce a été assujettie, afin de monter WAG! dans un théâtre de production à petite échelle à New York. / WAG! The Musical is Aleksey Shegolev's second full-length musical and it is the first to be performed in an off-Broadway theatre in New York during the summer of 2013. The idea for the plot was inspired by William Shakespeare’s Love’s Labour's Lost, and he and his partner, Julian Silverman, created a story fit for modern times. Shegolev was the composer and lyricist, while Silverman was the book writer. Good storytelling and strong songwriting depends on the characters having a goal to pursue as they overcome the obstacles in their paths. As the story progresses, the level of intensity must always rise to keep the audiences’ attention. Jazz and rock ‘n’ roll were the main musical influences on this piece and we will see how rhythm, harmony and texture played a part in creating WAG!. Musicalizing comedy by using various techniques in composition is another topic that will be explored. Finally, this dissertation will close with Shegolev's experiences during the workshop from dealing with the director to the endless revisions and cuts that had to be made before opening night.

Vortragsfolge Prof. Uwe Huebner: Metacomputing - neue Aufgabenverteilung im Netz Dr. Wolfgang Riedel: Was nuetzt uns SGML Sven Graupner: What's up in Operating System Research Sven Koehler: IP Security (nach RFC 1825) Holger Trapp: Kryptographisch gesicherte Kommunikation und Datenhaltung Dr. Joerg Anders: ATM-Eine kritische Betrachtung Guenther Fischer: Cacheserver-Hierarchien Frank Richter: Ein neuer WWW-Server fuer www.tu-chemnitz.de Steffen Brose: Web-Zugang zu DQS Jens Kraizci, Volker Holfeld: Wie weiter mit dem CSN? Jan Wunderlich: Harvest Michael Hasenstein: Datenbank-Klienten auf Java-Basis Andreas Koehler: Form-based File Upload in HTML Gerd Heide: BROADWAY - Interaktivitaet im WWW mittels X-Protokoll Matthias Ehrig: NFS 2 - Moeglichkeiten und Grenzen Ronald Koehler: NFS 3 Christoph Ziegler: HSM - Was verbirgt sich dahinter? Kai Zscheile: Hardware-Loesungen fuer HSM Matthias Clauss: Vergleich und Bewertung von HSM-Loesungen Thomas Mueller: Fileserving an der TUCZ Karsten Baensch: AFS-Loesung fuer die Softwareumgebung der Parsytec-Maschinen Joern Wohlrab: Alternative verteilte Filesysteme Jens Junghaenel: Integration von PC's mittels Samba Merten Schumann: Archivierung elektronisch publizierter Dokumente Michael Tautenhahn: Fast Ethernet Jens Wagner: Firmenadressverwaltung am URZ Dr . Wolfgang Riedel: Neues aus der TeX-Welt (METAPOST, lyx) Carsten Mund: Untersuchung von Einflussfaktoren auf SPEC CINT- und CFP-Benchmarks

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No description available.

This work involves the design and implementation of a real-time Machine Vision-based Human Computer Interface (HCI) that analyzes and interprets a music conductor's gestures to detect the musical "beat". This HCI system interfaces directly with the "Virtual Orchestra", an electronic MIDI sequenced "orchestra". Prior to the development of this HCI system, the real time control of the tempo of the "Virtual Orchestra" could only be controlled by tapping a tempo on a MIDI controller device--a process that is foreign to most music conductors. The real-time beat information detected by this HCI system allows a conductor to conduct the "Virtual Orchestra" as if it were a live orchestra. This system was developed using the Broadway real-time color image capture board manufactured by Data Translation, Incorporated. The implementation involved the use of Microsoft Visual C++, Microsoft Foundation Classes (MFC) for the Graphical User Interface (GUI), Video For Windows (VFW), MIDI note generation, and Intel assembly level code optimization. Algorithms were developed for rapid RGB color thresholding, multiple contour extraction, fast contour based area and center of mass calculations, and gesture interpretation. Real time, live-video interpretation has been achieved and an end-to-end system has been demonstrated in conjuction with a MIDI sequencer.

Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.