No description available.

In this study, every effort has been made to cover the principal factors in the solos from the incidental music which are peculiar only to this part of Purcell's work. The melody and text have been of primary concern. The effects of the social and economic background of the times and the actual dramatic setting of the songs are given careful attention. It is not the purpose of this work to study the harmonic style of Purcell. This is admittedly a most intriguing and attractive subject. However, as the principal accompaniment is the continuo and the implied harmonies of his figured bass are not always clear the harmonic style will not be treated as an element of the solos. It is fully worthy of individual treatment which would be free to draw upon the vast instrumental examples of his work in a comprehensive study of his style. A complete survey of the songs is included in Appendix D for reference and for the information of the reader. It is hoped that the reader will be encouraged to pursue a closer study of these songs, and to consider their possible use today.

The author's inaugural dissertation, Erlangen, 1923. cf. Vorwort. / Music: 3 fold. l. at end. "Verzeichnis der ermittelten Schauspielkompositionen": p. 138-151. Bibliography: p. [154]-159.

The author's inaugural dissertation, Erlangen, 1923. cf. Vorwort. / Music: 3 fold. l. at end. "Verzeichnis der ermittelten Schauspielkompositionen": p. 138-151. Bibliography: p. [154]-159.

Thesis (Ph.D.)--University of Chicago, 1987. / Typescript. "Musical examples": leaves 545-656. "Catalogue of extant seventeenth-century Spanish theatrical songs": leaves 457-544. Bibliography: leaves 657-674.

No description available.

Thesis (Ph. D.)--University of California, San Diego, 2005. / Vita. Includes accompanying 4 reel tapes with recording of the composer's King Lear (analog, stereo., 7 1/2 ips : 7 in.).

Inaug. Diss.--Leipzig. / Cover title. Vita. Includes bibliographical references (p. [5]-6).

Heroes Are Born Then Made is a theatre piece involving live actors on stage, and live music originating from an orchestra pit. The script and music is original. The music is meant to literally depict actions and emotions on stage whether the actors are present or not. The duration of the entire production is about two and one-half hours long. Six main actors are used with additional walk-ons. Sixteen musicians are required to make up the orchestra which is organized into a woodwind quartet, a brass trio, a string quartet, a piano, and a percussion quartet. The play is based on the author's conception of how people tend to treat each other when someone is caught at a disadvantage. Specifically it is a depiction of the conflict involved when the minor characters discover that the main character is trying to do something quite different from their definition of "normal."

This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture Rangström (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.