<p> As a result of Francisco Franco overthrowing the young republican government during the Spanish Civil War (1936&ndash;39), countless citizens fled their home country in search of personal security and economic prosperity. Significantly, many of these expatriates were artists and musicians who eventually made their way to the United States, where they achieved celebrity status as dancers, singers, instrumentalists, and composers. This dissertation examines the lives and works of two such composers. </p><p> In the 1950s, Carlos Surinach (1915&ndash;97) and Leonardo Balada (b. 1933) came to the United States by way of New York City. Although both men were from Barcelona, their music and careers followed different trajectories. Surinach is often best remembered for his collaborations with choreographers of modern dance, such as Martha Graham, Doris Humphrey, Pearl Lang, and Alvin Ailey; however, his contributions to dance constitute only a portion of his creative output and were often adapted from his concert works, as choreographers found the rhythm and drama of his music appealing. Surinach&rsquo;s style often exhibits a deliberate use of flamenco idioms and is examined in three of his most important flamenco-inspired works: <i>Ritmo Jondo</i> (1952), <i>Sinfonietta Flamenca</i> (1954), and <i>Flamenco Cyclothymia</i> (1966). This dissertation also presents new biographical details regarding Surinach&rsquo;s education and conducting career in Europe, the impact of his lover Ram&oacute;n Puigcerve Bel on his career, and his work in the film and television industries. </p><p> Whereas Surinach maintained a consistent style throughout his career, Balada recognized the advantages of experimenting with new techniques, which he has done with great success. This dissertation examines three of Balada&rsquo;s works from his self-described second period, which began in the mid-1960s. For ten years, Balada moved away from tonality in order to explore new timbres, textures, rhythms, and avant-garde techniques that led to three of his most important works: <i>Sinfon&iacute;a en negro: Homenaje a Martin Luther King</i> (1968), <i>Mar&iacute;a Sabina</i> (1969), and <i> Steel Symphony </i>(1972). All three pieces have been recorded and widely performed, and they mark the beginning of a decades-long career as both professor and composer.</p>

<p> This thesis explores holistic approaches to the performing body. Beginning with the inner world of sensation, I discuss Anna Halprin&rsquo;s use of emotional geography and associative scoring in her community rituals. In Lawrence &ldquo;Butch&rdquo; Morris&rsquo; Conductions, I consider the body as score. And in an analysis of Sophia Gubaidulina&rsquo;s symphony Stimmen&hellip; Verstummen&hellip;, I describe the use of gesture as it is functions to frame the body as a symbol of transformation. I then describe the affect of these representative methods of composing for the performing body as they manifest in own work, using specific examples from (de)attachment for saxophone quartet.</p>

<p> Ballet music is an important genre of the canon of Western Classical Music. Composers and choreographers have collaborated on large-scale productions since the sixteenth century, but it was in the late nineteenth century that the art of ballet rose to unprecedented heights with the work of Marius Petipa. Petipa&rsquo;s collaboration with specialist composers of ballet music had important consequences for the genre going into the twentieth century. As Petipa worked with these specialists, including Ludwig Minkus and Riccardo Drigo, the relationship of dance and music in ballet evolved from a hierarchical relationship (dance over music) to a more equal pairing. This evolution correlates to the changing cultural and political tides of St. Petersburg from the Great Reforms in the 1860s to the October Revolution in 1905. In the 1890s and early 1900s, Petipa collaborated with more established Russian composers, including Peter I. Tchaikovsky, Alexander K. Glazunov, and Arseny N. Koreshchenko. This project considers several ballets by these composers, analyzing various Adagio movements from these works to show how ballet composing was approached first by ballet specialists and subsequently by symphonic composers. These dances are examined within the context of the Grand Ballets they come from as well as from a cultural and historical perspective. </p>

Thèse--Universit́e de Paris. / Pub. also without thesis statement. "Auteurs des études citées": p. [193]-200.

Thesis (M.S.)--University of Wisconsin--Madison, 1947. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

<p> George Balanchine was one of the most prolific and influential choreographers of the twentieth century. He was also a skilled musician, trained at the St. Petersburg Conservatory. His ballets have been celebrated for their musicality by prominent dancers and musicians alike. However, the concept of choreographic musicality, and the means by which it is achieved in his ballets, has remained largely elusive. This dissertation analyzes two works that Balanchine set to music by Pyotr I. Tchaikovsky: <i>Tschaikovsky Pas de Deux</i> (1960), set to an interpolation in <i>Swan Lake</i> (1877), and <i> Theme and Variations</i> (1947), set to the fourth movement of the Third Orchestral Suite (1884). The analyses combine perspectives from traditional music analysis, dance transcription, and digital video annotation. The methodology takes advantage of Balanchine's strong musical literacy to examine, first, the musical scores, as he did, and then his choreographies in relation to the scores. The analyses connect elements of his choreography directly to their probable sources in the music, and they show that Balanchine was guided by discernible priorities in setting dance to music: that dance and music reflect a partnership rather than dominance by one party; that dancers move with unreserved energy, reflected in steps that cross musical boundaries or anticipate musical ideas; and that dance establish a strong relationship with its music before it is free to conflict with it. Balanchine's choreomusical style encompasses many different types of relationships between music and dance, and he achieved what may be described as musical artistry by a variety of choreographic techniques. The analyses in this study offer a detailed view of important aspects of Balanchine's multifaceted choreomusical style.</p><p> To examine Balanchine's choreography, this dissertation presents a method for transcribing dance in a music-based notation system that prioritizes the representation of pitch with rhythm. It introduces a new "choreomusical notation" that maps "choreographic pitch" (or, spatial height) onto the vertical axis and "choreographic rhythm" onto the horizontal axis of a musical staff. Using this notation, visual representations of dance and music are aligned in a "choreomusical score," and analytic paradigms developed in music theory are applied to works of dance with music. Unlike most other systems of dance notation, this choreomusical notation is not intended to capture choreography in a comprehensive way; rather, it is designed to distill some of the most musically salient elements of a dance into notation for the purpose of intermedia analysis. Compared with other choreomusical analyses that use dance notations, this dissertation brings Balanchine's ballets and their musical scores into closer visual and cognitive proximity. This choreomusical notation can also be adapted to reflect musically salient aspects of other dance styles. Sample analyses showing extended applications, with excerpts from minuet, Bulgarian folk dancing, cartoon, and rave dancing, are included in the final chapter.</p>

Thesis (doctoral)--University of London, 2001. / BLDSC reference no.: DX222637.

Thesis (M.M.) -- Florida State University, 2003. / Advisor: Jane Piper Clendinning, Florida State University, School of Music. Title and description from thesis home page (viewed 9-29-04). Document formatted into pages; contains 76 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.A.)--University of Michigan, 1964.

Thesis (M.A.)--University of Michigan, 1964.